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4 JAMES” H. STEBBINS’ 


PRIVATE, COLLECTION | ee ey 
; - P< OF ie otoe | } a 
a Masterpieces by the Soren A rtists 
. COLLECTION TO BE SOLD BY AUCTION | 
Dees ve WITHOUT RESERVE ; . 
eae" ON. 
DAY. EVENING, FEBRUARY. 21H, 1889 


UAT CHICKERING HALL 


Frere AVENUE AND Bie STREET 


THE PAINTINGS ARE NOW ‘ON. PUBLIC EXHIBITION 


7 HK acs. 


“AT THE AMERICAN ART GALLERIES 


Nos. 6 AND 8 EAST TWENTY-THIRD STREET, NEW YORK 


EMAINING ON EXuIITion, Day AND EVENING, UNTIL DAY 
OF SALE, INCLUSIVE (SunDAys EXCEPTED) 


AMERICAN ART ASSOCIATION, MANAGERS 


THOMAS E. KIRBY, AUCTIONEER 


hg Poet, 7 yee 1889 


y fa 
» 
* 


bes ; Copvricur, 1888, BY 
THE AMERICAN ART ASSOCIA’ 


, r 
4 
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CONDITIONS OF SALE 


fon The highest Bidder to be the Buyer, and if any dispute arise between two or 


- more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 


| 2. The Purchasers to give their names and addresses, and to pay down a cash 
deposit, or the whole of the Purchase-money, z/ required, in default of which the Lot 


or Lots so purchased to be immediately put up again and re-sold. 


3. The Lots to be taken away at the Buyer’s expenee and Risk upon the 
conclusion of the Sale, and the remainder of the Purchase-money to be absolutely 
paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before 
delivery; in default of which the undersigned will not hold themselves responsible 
if the Lots he lost, stolen, See or destroyed, but they will be left at the sole 


risk of the Purchaser. 


4. Lhe sale of any Article ts not to be set astde on account of any error in the 
description, or tmperfection. All articles are exposed for Public Exhibition one or more 


days, and are sold just as they are without recourse. 


5- To prevent inaccuracy in delivery and inconvenience in the settlement of 


the purchases, no Lot can, on any account, be removed during the Sale. : 
6. Upon failure to comply with the above conditions, the money deposited in 
part payment shall be forfeited ; all Lots uncleared within three days from conclusion 
of Sale shall be re-sold by public or private Sale, without further notice, and the 
deficiency (if any) attending such re-sale shall be made good by the defaulter at this 
Sale, together with all charges attending the same. This Condition is without 
prejudice to the right of the Auctioneer to enforce the contract made at this Sale, 


without such re-sale, if he thinks fit. 


THOS. E. KIRBY, AUCTIONEER. 


PeeCiAl NOTICE 


DMISSION to Chickering Hall on Night of Sale will be dy Card only 
(no reserved seats). These Cards will be ready for /ree distribution on 
Thursday, February 7th. Application for them should be made by letter. 
Address AMERICAN ART ASSOCIATION, 6 and 8 East 23d Street (Madison Square, 
South). 


peer 1!O PURCHASE 


HE undersigned have volunteered to receive and attend to orders to purchase 


at this Sale: 


Messrs. M. KNOEDLER & Co... : , . Fifth Avenue and 22d Street 
L. Crist DELMonico (Kohn’s Art Rooms) . ; : No. 166 Fifth Avenue 
Wm. ScHaus, HERMANN ScHaus, and A. W. CONOVER, 

Successors, . : : : : : : . No. 204 Fifth Avenue 


Gouri. & Co., of Paris, Boussop, VaLAapon & Co., Successors, No. 303 Fifth Avenue 


Messrs. BLAKESLEE & Co. . ; u ‘ : Fifth Avenue and 26th Street 
Messrs. REICHARD & Co. : : : ‘ : , No. 226 Fifth Avenue 
M. DuURAND-RUEL, : »- WNo: 207 Fiith Avente 


AMERICAN ART ASSOCIATION . ; Nos. 6 and 8 East 23d Street 


é 


ARTISTS REPRESENTED 


AGRASSOT, JOAQUIN. : : : 
_ ALMA-TADEMA, LAURENZ . ‘* 
ALVAREZ, PIS hi’. : : : 
BAUGNIET, CHARLES. ; 
PHEARD, WILLIAM H. é ‘ ‘ 
BERNE-BELLECOUR, E. P. . : 
BERTRAND, JAMES . : : 
| BIERSTADT, ALBERT 
_BonHEUR, MLLE. MARIE RosA 
BONHEUR, FRANCOIS AUGUSTE . 
' BOUGUEREAU, WILLIAM ADOLPHE 
BOULANGER, GUSTAVE R. C. 
CERVvI, C. : ‘ a 
DAuUBIGNY, C. F. pS : 
DeEcaAmpes, A. G. 
DETAILLE, J. B. Epouarp, ; 
DIEFFENBACH, ANTON HEINRICH 
Dr BEAuMonT, C. EpovarD 
D’Eprnay, Count GEORGES PROSPER 
De NEUVILLE, ALPHONSE MARIE 


DE NITTIs, JOSEPH . 


FORTUNY, MARIANO . 
GARRIDO, EDOUARDO Lion 
GEROME, JEAN LEON 

GOUBIE, JEAN RICHARD . : 
GRISON, ADOLPHE, ’ ; ‘ 
HEULLANT, FELIX ARMAND 
JAcoMIN, ALFRED Louis 


LA Tour, CLAUDE S. H. DE x 


NO, 


4, 35 


. 54, 58 


79, 80 


13, 48 
55, 77 


NO. 
LELoIR, Louis ALEXANDRE 50 
LEON-HERMANN, CHARLES 23 
LOTH,UF. Ei; 25 
MADRAZO, RICARDO . 45, 51 
MEISSONIER, J. L. E. . a 400 86, 723573 
MEISSONIER, JEAN CHARLES 64 
MICHETTI, F. P. ae Gt 
MONTELANT, J. O. DE 8 
PASINI, ALBERTO, 24 
PETTENKOFFEN, Pror. A. VON 59 
PORTAELS, JEAN FRANCOIS 19 
RICHTER, EDOUARD . 32 
Rico, MARTIN , ; Ph 22. Ania a) O35 
Rossi, Lucius . : : ‘ 17, 38, 39 
SAINTIN, JuLES Emi, 26 
SCHEYER, ADOLF 67 
SIMONETTI, ATTILIO CAVALIERE . 36, 37, 53 
TADOLINI, ADAM SCIPIONE . 78 
TEN KATE, HERMAN F., 46 
TROYON, CONSTANTINE . : 57 
VANNUTELLI, CAVALIERE SCIPIONE : 44 
VERNET, E. J. HORACE, 21, 66 
VERNIER, Emite Louis : i » 5 
VIBERT, JEAN GEORGES 61, 71 
VILLEGAS, JOSE . ; : : : 16 
WoRMS, JULES . +. 2 
WESSEL, O. ’ P : , : 47 
WYLIE, ROBERT, . : : Seas 
Zamacois, EpouarRD . une GOA Or 


‘WYLIE (RoBERT), . Deceased 


_ Born in the Isle of Man, 1839. Died in Brittany, 1877. Brought to 
America when a child. Pupil of the Pennsylvania Academy, Philadel- 
phia, the directors of which sent him in 1863 to study in France. 


Medal at Paris, 1872. = 


No. 1 
FIVE BRITTANY CHILDREN. 


9 X 10%. 


To Robert Wylie is due the discovery and development of Brittany 


‘as a mine of artistic material. He it was who first settled to study and 


paint at Pont Aven, where, now that he is dead, has sprung up one of 


the most extensive permanent art colonies’ in Europe. Brittany affords 


material for the painter of figures, of cattle, of landscape, and of the sea. 


Its picturesqueness is endless, and its variety of pictorial wealth inexhaustible. 
The people in particular, preserving as they do the manners and costumes 
of the past, and being but slightly modernized in spirit, furnish the artist 


with abundant material. It was among them that Wylie found the 


successes which made him famous. 


The scene is the interior of some showman’s booth at a rural fair. 
The five children, perfect types of French peasant life of the younger 
generation, are watching some absorbing show. One little girl is seated 
in rapt attention. A second has been disturbed by a teasing younger 
child, and turns to rebuke it. Behind are two boys, one standing, serious 
and thoughtful, with his whole interest engrossed in the performance. The 
individualities of the children are strongly and accurately defined, and the 
delineation of expression is an important detail. The coloring is rich and 


subdued. 


p50 


JF § bei TOUR (Criaupe SrpasTian HuGARD De), . Fans 


Born in Savoy, 1818. Landscape painter. Pupil of Diday. Medals, 1844, 


ae 1846. 
7 Wp 
lt i : No. 2 
EARLY SUMMER. 
(EFFET D’ETE.) 


THORNE 


When the brow of June is crowned by the rose, 
And the air is fair and faint with her breath, 
Then the Earth hath rest from her long birth throes ; 


The Earth hath rest and forgetteth her woes, 
- As she watcheth the cradle of Love and Death, 
When the brow of June is crowned by the rose. 


EMILY PFEIFFER. 


{ 


The foliage is fresh with the vivid greens that have been unscorched 
by the sun, and the streamlet still holds the coolness of spring among its 
ripples. Some cattle give life to the landscape, and a village lends interest 
to the background. The delicate suggestion of this period of the year, 
whose beauties are so subtly defined and so difficult to render, is conveyed 


with a remarkably sympathetic and appreciative touch. 
Io x 


MICHETTI (‘eereusco PAoLO),  . . . 


Born at Chieti, near Naples, 1852. Studied in Naples under Dalbono pcm 
later in Paris. Medals at Rome, Turin, Florence, and Parma. Cheva- / a~ “ 
lier of the Order of the Crown of Italy. we, 


i) 


No. 3 


Care IN. THE WOODS. 
(ENFANT DANS LES BOIS.) 


5a X 7 


A wood interior in the most verdurous season. The late afternoon 
sunlight plays amid the foliage of the birch trees, filling the forest with 
a warm, green, and luminous mistiness. A child, clad in blue, with a red 


cap, gives the interest of life to the picture. 
II 


aneug 
yw. ZBIERSTADT (Avzert), N. A, ; New York 


yy 0 | Born in Naas 1830. Brought to America at an early age. In 
9 1853 he returned to Diisseldorf and entered the Academy there ; after- 
ward studied tn Rome, Switzerland, and Germany. Elected Member — 


jeer” 1860; Chevalier of the Legion of Honor. 


No. 4 


MOUNT HOOD, OREGON. 


13 X 19. 


i Thirty miles beyond the Columbia River, winding its reddening way 
into the sunset of the Pacific, the noble peak of the great mountain of 
the Cascade Range pierces the burning sky of evening. 

Mount Hood measures over eleven thousand feet in height, and presents 
a magnificent spectacle viewed over the fertile valleys of the Columbia and 
the Willamette rivers. The range to which it belongs is of volcanic 
origin, and there are Indian legends that Mount Hood itself has been 
seen in eruption within the century. It is sufficiently quiescent now, 
however. The vapors of mountain brooks still wreathe about it in the 
cool air of dawn, but the fierce breath of subterranean fires is stilled. 
Mount Hood was one of the last peaks on the Western Continent to be 
explored by human feet. For many years its savage and dreary upper 
slopes defied human courage and endurance. Its secret was finally wrested 
from it, and quite recently some very interesting meteorological experi- 
ments were made by a United States surveying party that scaled its 


summit. 


The date of Mr. Bierstadt’s picture is 1868. 


I2 


Paris 


ws be. a at Lons-le-Saulnier, france. Pupil of Collette. MM edals, 1869, 1870. 
ait Cae oe bird | Aires 


= No. 5 


- WASHERWOMEN OF BRITTANY. 
bi.? (BLANCHISSEUSES BRETONNES.) 


16 X 28, 


Rugged land of the granite and oak, 
\ I depart with a sigh from thy shore, | 
_ And with kinsman’s affection a blessing invoke 
a the maids and the men of Arvér. 


aes ‘ ee SAMUEL FERGUSON, 


ae 


s 
i 


he sea is a species of mother, albeit often a harsh and cruel one, 
| othe” “Breton poor. From her they draw their sustenance, the finny 
“harvest which constitutes their meagre earnings and provides them with 
Ny scanty and rude fare, their fuel and often their clothing, which the storm 
sends ashore to them, as spoil of the wreck. While the men brave its 
- perils: off shore, the women forage along the strand, gathering seaweed 
ev tanrd mussels, collecting hie drift cast up by the waves, or among the pools 
ere. in the channelled rocks by the receding tide, beating out their coarse 
linens and cleansing their garments, which seem never too old or worn 
out to be unfit for use. It is a life of perpetual privation and limitless 
labor, which is fitly lived in the presence of the restless and melancholy 
sea, under a sky which swells with fitful showers and bursts in the sudden 


_ trumpetings of a capricious storm. 
Bg ty. lars 
4 : : 


© Oe, DIEFFENBACH (Anton HeErtnricH), ~.  . | Berlin 
Uae 


we 
i 2 


~~ <& Born in Wiesbaden, 1831. Genre painter. Pupil in Dusseldorf of 


“7 Jordan. Lived for some years tn Parts. 


a 


No. 6 
| 


SHEARING THE PET. 
(LA TONTE DU CANICHE.) 


TS ox es: 


Hector is having his toilet made, while his more diminutive friend, 
Gogo, watches his comrade, perched upon the upturned tub, and resting 
passive under the master’s shears, with uneasy surprise. And what a fine 
type is this master, an old soldier rusting his peaceful years away in the 
snug retirement of a porter’s lodge, caging pet cats instead of capturing 
warlike prisoners, and cropping the coats of friendly poodles instead of the 
ears of a foreign foeman! The same strong hand that wrested the Cross 
of the Legion, shining on his shabby breast, from the fury of battle, 
touches with the firm gentleness of a kindly master the confiding pet that 
comes under his control for artistic embellishment... It is an admirable 
example of the old campaigner of the great Napoleonic era that the artist 
paints. Of such men neither dogs nor their little mistresses need cherish 
mistrust or fear. That honest face, bronzed in the aunens smoke and 
the blaze of burning gunpowder, indexes a brave and truthful heart, that 
‘has fairly won the peaceful corner, in which its master may puff his pipe 
and see, in the softly curling smoke of his glowing bowl, visions of the 
stormy past which has brought him its placid reward. In such episodes 
as this, war makes to the human race some extenuation of its heroic 


horrors and its dark despair. 


The date of the picture is 1867. 
14 


"I 2 ae OF ON ne eRe, ee pat TS 


E~ 
. 
S 
~ 
PO 

ty N2 

Pe oat 

in 


= 
ON 4 


sll ies) on aia’ 


BAUGNIET (CHARLES), . Be ty oe Paris a 


Born in Brussels, 1814. Pupil of Paelinck and of Willems. First pg 3 
known through lithography. Member of Ghent Academy in 1836. Ap- 
' potnted designer to the King of Belgium, 1841. Order of Leopold, 1843. 


ieee: 


Officer of the Same, 1872. Order of Isabel the Catholic of Spain. 3 
Order of Branche-Ernstein of Saxony. Order of Christ of Portugal. oe 
No. 7 } 

CURIOSITY. 


(LES INDISCRETES.) 


265 xX 21, 


Although the proverb assures us that the name of curiosity is woman, 
the trait is, it is but fair to assume, not confined entirely to the sex. Key- 
hole confidences are quite as dear to man. There is, however, a lack of dig- 
nity about a male listener which impels the painter naturally to woman when 
he desires to weave an allegory out of the act of eavesdropping. Woman is 
always graceful and charming, even in such contingencies as M. Baugniet rep- 
resents. There is a dainty elegance about the fair being in blue and white, 
with her ear to the key-hole, and a lissom charm to her companion in pink and 
white, who is standing and listening to her report, that one would seek in vain 
in two members of the other sex engaged in the same surreptitious employ- 
ment. We may imagine, from their expressions, moreover, that the subject of : 
discussion on the other side of the closed door is of paramount interest to one 


‘of the twain. In such rich houses love and diplomacy go hand in hand, and 


whose verdict is in doubt, that is screened by the jealous barrier. 
15 


: 
| 
it may be a marriage settlement, or a proposal from an ardent lover to a parent 
) 


IMONTELANT ( ae O.. DE), Rome 
3 Wd. ; hoe No. 8 


VIE Weer “NAPLES. 


21 ea 


Naples! thou heart of men which ever pantest 
Naked, beneath the lidless eye of heaven ! 
Elysian city, which to calm enchantest 
The mutinous air and sea ! 
PERCY BYSSHE SHELLEY. 


It is the Naples of Shelley, that M. de Montelant paints,—the Naples 
drowsing in the shadow of Vesuvius, lapping its lazy feet in the warm wave- 
lets of the sapphire sea. There is no hint of the long troubles of its vicissitu- 
dinous history, of the savage romance of its existence of conquest and revolt, 
of tyranny and oppression, in this easygoing city, basking in the summer sun. 
amid a nature that gives one a hint at the pleasures of Paradise. It has been 
said that Newien like some handsome woman, has a talent for not showing 
her age. Yet it was in the shadow of Vesuvius that the Greeks set up their 
colony of Parthenope and that Virgil was buried. It was here that even after 
Rome conquered Greece, the Greek refinement and the Greek tongue con- 
tinued to hold their own, and that, through all the black waste of the Gothic 
and Byzantine wars, a singularly spirited and independent people preserved 
their individuality and much of their independence. And even in these days 


of his degeneracy the Neapolitan is one of the distinct and notable types of 


Italy. 
16 


Deceased 
Ber) April 25, tii Pupil of Jollivet and of Paul Delaroche. 
'on the Brie de Rome in 1849. Medals, 1857, 1859, 1863, 1878. 
pevalier of the Legion of Honor, 1865. Member “UV the Institute of 
ce, 1882, Died, 1888. | 


No. 9 


- THE EMIR-SCENE IN ALGIERS. 


eae a (CEST. L'EMIR.) : 
i We , Seige x 182. 
i Poor, vagrant scions of the Prophet's race, 


Who beg an alms with all a giver’s grace. 


x 


FRANCOIS COPPEE. 


{ 


we ee inheritance that the sons of Fatima, the iter of 


nd ae Be ge a the green turban, which found such eae in the eyes of 


eae 
‘ae ee 
at himself, But they, thanks to these facts, still encounter a certain 


word aye ee in effect, an independent Picicdian as well as a 
_ descendant of the prophet. In M. Boulanger’s picture we see an émir by 


birth and an émir by the fact of his tribal authority meeting in an oasis in the: 
as a 3 | ! 17 
. * : 


ips ee 
ad ¥ 


THE EMIR—SCENE IN ALGIERS. 


desert. In the person of the one we have an emblem of a deteriorated race, 
living upon the traditions of its origin. In the other is embodied the fiery 
and manly spirit of some family of warriors of the desert who owe their title 
to their prowess alone. The contrast is well made. The haughty young 
chieftain receives the humble descendant of the Commander of the Faithful 
with a certain degree of disdain. Still he extends to him, for the sake of the 
tradition he represents, the welcome of a peer, and the rude hospitality of his 
scanty commissariat. | | 

The recent death of Boulanger was sudden and almost tragic. He 
was a man of large habit and a noble self-regard. One afternoon he stood 
at his easel, busy with the sketch of an Arab woman carrying a richly — 
embroidered saddle. The next evening he and another painter went 
together to a friend’s house to dinner. As they passed the house where 
Eugene Scribe lived, they spoke of the death of that distinguished dramatist. 
Scribe was riding in a carriage, and he died so suddenly that he could not lift 
his hand to the check cord, which communicated with the coachman. 

“ That man,” said Boulanger, “had luck all through his life, but the thing 
I envy him the most was his way of leaving the world, without knowing that 
he was going.” 

The dinner party was a pleasant one, Boulanger in particular being full 
of anecdotes and souvenirs. When he left the table he began to hum a tune. 
His friends left him at the door of his house, where he also had his studio. A 
speaking-tube was within reach of his bed, placed there during an illness 
which he had two years ago. The janitor of the house heard a feeble call, 
and on placing his ear to this tube heard the artist, in tones so weak that he 
could hardly make them out, say: ‘‘Go for my doctor.’’ When the physician 
came, he found Boulanger dead, still holding the end of the speaking-tube in 
his hand. 


The picture is dated 1871. 
18 


SE eee PAT ae ep pee HE PSP SD ae ey 
“les Den Sone aa lee ee rs Tr 


f ~ GARRIDO (EpovaRDo Leon), Sete PATS 
; a i et at Madrid, 1854. Pupil of V. Palmaroli 


& No. 10 


ke RAINY DAY, PLACE DE LA CONCORDE. 


(UN JOUR DE PLUIE, PLACE DE LA CONCORDE.) ey 
Loe eee, a ji aa 


The place of peace to-day ! ’tis easy said, 


‘When every inch space of thy stones is red, 


Se ee, ae eee a 


When all the rain that gracious Heaven brings, 


ee ee) 


Still cannot purge thee of the blood of kings ! 
ROBERT BROWNING, 


te oe 


In 1747 Louis XV. accorded to the good citizens of Paris permission to 

_ erect a statue to him, and they set it up in a square called the Place Louis XV. 
In 1792, when the Republic had been set up, the Assembly decreed the 
demolition of this monument, and had it replaced by a tawdry plaster figure, 
colored gaudily, of Liberty. The title of the square was changed to the Place 
de la Revolution, and the guillotine was set up on the spot where now stands 
i tethe Obelisk of Luxor. The elaborately sculptured base of the Louis XV. 
statue, indeed, served also as the foundation for the scaffold on which Louis 
XVI. and so many others of royal and commoner blood perished. In 1799 the 
Reign of Terror being over, the title was changed to that of the Place de la 
Concorde, and since then the work of improvement has been carried on that 
renders it with its Obelisk, its fountains, statues, columns, and esplanade, the 
finest public square in Paris, if not, indeed, in the world. The Place de la 
Concorde has on one hand the palace and garden of the 7uzlerzes, and on the 
other the long vista of the Avenue des Champs Elysees, terminating in the 
Arc de Triomphe in the Place de L’Etoile. In the other direction are the 
Garde Meuble and the Madelaine, seen through the Rue Royale, and the 
Palace Legislatif, beyond the Seine, and the Pont de la Concorde. Spacious, 
brilliant, and ever alive with the animation of a great city, it invites the 
painter's attention by a constant succession of changing pictures, in fair 


weather or foul. 
19 


’ 
7 
: 
. 
7 


I | pV »MICHETTI (Francesco Paoto), . . Naples 
Qin 
iB = on Born at Chieti, near Naples, 1852. Studied in Naples under Dalbono ; later 


en in Paris, Medals at Rome, Turin, Florence, and Parma. 


2 Kr labaed No. ll 


ITALIAN CHILDREN AT A FOUNTAIN. 
| (ENFANTS A LA FONTAINE.) 


8 x 44. 


Children are drawing water at a crumbling well-side in the neglected 
garden of an ancient palazzo. The stone wall of the garden and the ground 
are dappled by the sunshine with flecks of gold. 

Dated 1871. 


20 


7 


Paris 10 -O 


| Genre pe Pupil of aes Medals : Paris, bp 39 fs 


(TEMPS INCERTAIN.) 


1 TAD aN ho og 


And woman's will—how says the ancient sage ?. 
So like the veering of the weather vane, 

. Created for man’s pleasure and his pain, 

And quite above his blandishments or rage. 

part Lorp Byron. 


\ 


a a a ee ea 
= - “ elas - 4 £ irs. ad a = 


i man in. ihe nee coat, ayith the white vest and gay breeches, who is putting 


, osnee 
ae up his hand to make sure by the moisture on it that the rain has begun to fall, 
x i suggests his appreciation of this fact. The party have been breakfasting 


al fresco, i in a suburban garden, near some Spanish city, at a period early 

a in the century, as their dress betokens. The roof of the little hostelry is seen 

ig ee ~ above the verdure of the garden crowned with its splendid weathercock. An : { 

i rny ‘old servant in livery opens an umbrella, while the two pretty girls, whom their , 
"elderly escort has been entertaining, shrink poutingly within their flimsy sum- 


Be finery, with the pleasure of the day spoiled by the anticipation of the 
Une . | 21 


a 
yar 


drenching to come. ¥ Te. is probably i in eh: moment ‘that. their ee 


ences a menace as serious as that of the weather itself. 


_ for etna ribbons and bedanered furbelee ‘The ‘nee of thee r. 
rete and of the better class. The action of ane neu is fo 


Deceased 


are at Barletta, Ttaly, 1846. Died at St. Germain, 1884. Studied 
; under Gerome and Meissonier. Medals, sae 1876, 1878; Legion 


aig of Honor, ou é: Ve of 


es 


Rit is a place for confidences, where the verdure whispers secrets to 


ries caressing zephyr, and the stream babbles them to the rustling sedges. 


SS eres eter ac a cm 
% < 
sh Ne ce — tj a ae". 
Ae cre ; va , ag) sia tas 


‘Upon this shaded bank, under the sky of radiant midsummer, one might 
well” lie at ease and murmur of forbidden things, and tales that could be 
told to the safe ear of friendship alone. In this idyllic confessional, one 
of the artist’s heroines, splendid as a huge butterfly in her robe of blue 
and ee ronilion, rich with sumptuous broideries, extends herself in the luxu- 
rious. lassitude of unconstrained repose upon the perfumed greensward, 
fanning herself lazily as she babbles her confidence to her companion, who 
listens idly, propped upon her elbow, by her side. To the artist, ‘“Con- 
fidences” has been the excuse for one of those daring and brilliant experi- a 
ments in color by which he won, during his phenomenally successful career, 


such extended fame and favor. It is a triumph built upon the simplest Ny 


iy foundations, that of the primary tints. The key-note is struck in the | i 
, vivid red, yellow, and blue of the women’s robes, upon which combination 
ail the rest of the picture is a variation. / ia 


The picture bears the date 1863. 
we : 23 


np] SGRISON (ADOLPHE), i ee an : Pats | 


Born at Bordeaux. Pupil of Lequieu. 
& wee 


THE WINE TESTERS. 


« 


No, 14 pri 


(LES DEGUSTATEURS.) 
10%. 8: 

The church and the military have in all times been excellent friends. 
In a snug corner of a monastery cellar, two examples of the comradeship 
of the rosary and the sword, a monk and a man-at-arms, are making sympa- 
thetic and leisurely investigations into the quality of the vintages that fill 
the convent casks. The wine tasters are characteristic and well-contrasted 
types. The soldier wears a somewhat critical expression, as is the privilege 
of a man of the world who holds his own opinion in respect, while the 
cellarer’s face reflects the contentment of one who knows, and is therefore — 
comfortably secure in the unimpeachable excellence of his wares. How- 
ever their opinions may differ on: the subject of the exact flavor of the 
wine, we may be assured that they will not quarrel over it. The quality 


of the fluid that brims the social glass is evidently too excellent to promote 


dissension or permit it. 


The picture is dated 1881. 
24 


~ 


Hs RE 


‘No. vf iE 
. HIDE AND SEEK. 
(CACHE-CACHE.) 


LAox 22. 


Then in and out and round about 
We turn and twist and glide, 
And ever in the merry rout 
We find a loved one’s side. 


LORD BYRON. 


The game of hide and seek possesses a double utility. It is not only 


mn " flirtation through the broken course of the game. The latter inducement 
is quite likely to have some weight with M. Alvarez’s frolicsome players. 


They are certainly rather of the flirtatious than the purely playful age. 


_ They make, at any rate, an animated and colorful tableau, in the contem- 
plation of which their sport may be shared without the eveue of physical 
exertion its actual performance involves. 


25 


Ye 


eee Ow ‘ 
male) 0 ee 


to hee 


> 
i. : 5 
FU 


Pe 


Oy. Born in Seville. Pupil of Fortuny. Medals at Seville, Rome, Naples, 


and Turin 


BULL-FIGHTERS AWAITING THEIR TURN. 


VI (AVANT LA COURSE DE TAUREAUX.) 


84 x 64. 


In the coudisse of the bull-ring a bull-fighter in blue, with a gorgeous 
gold-embroidered cape and his crimson cloak draped over his arm, smokes 
his czgarzllo and watches the progress of the events in the arena, in which 
he is to take a decisive part. At his feet is a dbanderzlla. A plank fence, 
with a rude bench, separates him from the vaulted space under the audi- 
torium of the amphitheatre. Leaning on the fence from their places behind 
it are another bull-ighter and two spectators, who, by their familiar atti- 
tudes and expressions, are evidently friends of the actors who have the 


proud license of an entry behind the scenes. The various Spanish types 


are closely studied, and the fixed attention and suppressed excitement of 


the watchers mirror to the imagination the unseen drama which is being 
enacted before them. Overhead the feet of the spectators are thundering 
on the planks of the amphitheatre. Behind them the bellowing of fresh 
victims for the people’s holiday echoes through the gloomy vaults of the 
cellarium. Through the dust and heat of the arena the movement and the 
reek of battle come in fitful gusts. It is the moment of watchful repose 
that precedes the storm. In the twinkling of another eye, one may expect 
the picture to be empty, and the blue-jacket, mayhap, empurpled with 


gore. 


The date is 1871. 
26 


VILLEGAS' (Jost), . 3... rn 


ec Pd 
we wast al 


! 
a) i 


we. 


ROSSI (Lucius), . as ee Parts | q 


Born at Rome. Pupil of the Academy of Rome. Medals at Rome, Turin, o rh 5 


and Naples. 
! = Noi ve Ha. E 
“MIDNIGHT AMUSEMENT IN THE OLDEN TIME) 96 
—VENICE. ee oe / 0 i 


(GUET-APENS A VENISE.) 


14% X 114. 


There’s a step on the Bridge of Sighs, 
The step of a cavalier; 

Some maiden trysts, and swift he hies 

To kiss and fondle a lovely prize. ‘ 
As he speeds, the moon shines clear. 


\ \ ; 


-There’s a sound on the Bridge of Sighs, 
The sound of a struggle loud: 

A dagger gleams, a shadow flies, 

An inert form on the pavement lies. 
The moon goes behind a cloud. 


FRANCIS S; SALTUS. 


The moon is out, in Medizval Venice, flooding the open tide with her 
white splendor and burying the obscure passages of the little canals in a 
gloom meet for tragedies. Among the shadows, what lurking shapes may 
crouch, clutching the ready steel, the moment of action only can reveal. 
There is a rasping on the balcony overhead, the clatter of the rope-ladder, 
lowered to carry a secret wooer from the trysting place, a figure on the cord, 
and then, in a moment, swift clashing of steel, fierce oaths, and the tumult 
of a death struggle, punctuated with a woman’s shrieks and cries of agony. 
And still Venice dozes or frolics on upon its ways of pleasure and of intrigue, 
unconcerned. To her such midnight brawls are all too common to send a 


thrill to her blood or an extra pulsation to her heart. 


_ The date of the picture is 1870. 
27 


\ Ne 


We a GOS PR ee Pe a Ogee a a 
‘ Fit. oS in J aa we dot Ge 
“ie 5 y ‘. * 7 aor. a 

: ; Se ees i 


"a 
2° 


Pg@Rassor (JOAQUIN), .. ares. . Rome 


Born at Orthuela, Spain. Genre Painter. Pupil of the Academy San Carlos 
of Valencia, and of Martinez. } 


Ke 


FORTUN Y5775 FU Dig: 


(L’,ATELIER DE FORTUNY.) 


16 2x0 


Tis “acormer of the famous Roman atelier in which the great Spanish 
painter heaped up the artistic prizes of his mania for curiosity collecting. 
There is a trophy of arms and bric-a-brac on an antique stand, a gorgeous rug, 
on which some sketches are scattered, porcelains and metal work, carvings in 
wood and stone and ivory; part of the gathering, in short, which has given 
the studio of Fortuny an immortal place in the reminiscences of art, and which 
two ladies are examining with properly curious interest. This souvenir of his 
great colleague's atelier was painted in 1871, when the talented young painter 
formed one of the noteworthy Spanish colony engaged in the practice of 
art in Rome. 

Mr. Stephen J. Ferris, who was himself a pupil of Fortuny, writes of 
this interesting work: “I am told by one who saw it in Fortuny’s studio 
that Fortuny worked on it until it was recognized as his work. It caused 
quite a controversy in Rome until Fortuny explained. He was so obliging 
to young artists as to sometimes paint for hours on their pictures, which 
was, probably, the case in this instance.”’ 

Agrassot was a close friend of Fortuny, and his portrait appears in the 
great Spaniard’s picture, ““ LE FAUST DE GOUNOD,” in which the composer is 
represented playing on the piano his great score, with phantasms of Faust 


and Marguerite, and of Mephistopheles and Martha in the air. 
28 


: 
: 


Se ie 


\ 
PORTAELS (jean Francois), ... -. Brussels 


Born in Vilvord, near Brussels, 1818. Pupil of Navez, and in Paris of Dela- 
roche. Won the Prix de Rome, 1841. Travelled through Europe and the 
rast. Since 1878, Director Brussels Academy. Order of Leopold, 1851. 


Medal, Paris, 1855. he Mblnrr~ 


No. 19 


‘BOHEMIAN CABIN. 
(INTERIEUR BOHEMIEN.) 


TO X 14. 


It is the fireside of a vagabond race but one remove from the nomads of 
the Steppes. To such as these, home is a name unknown. Their substitute 
for it isa simple shelter from the elements, where man and beast may huddle 
together, and the scanty pot be kept warm over the scanty fire. The gypsy 
traits of the race leave no room in it for the enervating comforts of civiliza- 
tion or the immaterial pleasures of a high state of existence. Their wants are 
those of nature alone. A rude meal, a sleep upon the floor of beaten earth, a 
handful of fire-brands for warmth’s sake when the wind is chill—this is the 
beginning and the end of the Bohemian’s mundane desires, and the supreme 
ambition of his picturesque and purposeless existence of vagrant worthless- 


ness and reckless inutility. 


20 


Ss 7 7 
“CERVI (C)), 7 : Rome 


Pupil of Lis aren. 


yj uhh. 


THE .Dobed ot let TED PICTURE. 


It is manifestly a very serious matter to decide whether this master-piece 
is, in effect, a real master-piece, or but a base deception unworthy of consider- 
ation or tolerance as part of acollection. There has been a dispute upon this 
point between these two veteran experts, by which the younger man has evi- 
dently been more diverted than edified.. Now that the debate has reached a 
deadlock, one contestant seeks authorities in his books of reference, while the 
other studies the bone of contention’ lovingly set up on a carved chest before 
him, and still expatiates upon its undoubted genuineness. It is a Descent 
from the Cross—well, how many such have been painted! But the frame is an 
antique! That may be, but—and the fluttering of leaves goes on, conflicting 
authorities are read and re-read, and the difference of opinion remains as far 
from adjustment as ever. It is in such comedies as this that your true collect- 
or’s life runs its course, disturbed by its tempests in a tea-pot, now and then, 
only to settle into triumphant calm upon the acquisition of some prize whose 
quality is quite beyond dispute. 


The picture is dated 1871. 
30 


. | : } 
VERT, GPM, HAN HLORACE) ee in Paris, emeAeEd 


Son of Carle Vernet and grandson of Joseph Vernet. Pupil of his 
father and of Vincent, and commenced an independent career as a painter 
in 1809. First-class medal, 1812. Chevalier of the Legion of Honor, 
1814. Officer, 1825, and Commander of the Order in 1842. Member of 
the. Institute, 1826. Director of the French Academy at Rome, 1828. 
french Representative at the Roman Court, 1830. Grand Medal of 


ffonor, 1855. 
No. 21 ee So pe ; 


SOCIALISM AND CHOLERA. 


X I45. 


When the revolution of 1848 found Horace Vernet in the fullness of his 


_ popularity and his fame as the great battle painter of France, the pride of the 


army and the pet of the king, it dealt him a serious blow, and one from which 
his spirit never fully recovered. He still continued at his labors, but the sun 
of his destiny had entered upon its decline, and a newer state of things paved 
the way for newer men. The revolution resulted in the abdication of Louis 
Philippe in February, 1848, and the proclamation of a Republic. Four 
months later came the Red Republican insurrection, which the provisional gov- 
ernment put down only at the cost of much bloodshed. Then came the 
Asiatic Cholera and Louis Napoleon to put an end to the Republic in its turn. 
Vernet lived to paint some of the glories of the successor of his royal patron, 
and he painted all his detestation and scorn of the socialistic creed which 
helped to depose Louis Philippe and to place Napoleon III. on the throne, in 
his picture of “ Socialism and Cholera.” 

It is a scene of horror, under a sky of dread. Upon the guillotine a vic- 
tim is bound to the fatal plank. Perched upon him as on a throne, Death 
and the Plague hold rule over a great field of carnage. Corpses are everywhere 
in heaps and winrows, losing themselves in the horror-haunted gloom. The 
guillotine itself is built upon them. They are the fruits of socialism; they 
typify socialism itself, which, as the artist holds, can only end in destruction, 


carnage, annihilation, and a restoration of the old and natural social order. 
31 


j A » C “es. t vs oe 
r x's ¥ 5 ze F i ra : 
- / #F 5 % . 


SOCIALISM AND CHOLERA. 


But greater than socialism, which can only destroy itself, is the pestilence 
which can destroy the destroyer—the pestilence which has come with its twin 
brother out of the Orient, and laid its poisoned clutch upon the West. Vernet 
paints the Cholera as a gaunt and cadaverous simulacrum of humanity, out of 
whose face, leaden with the livid pallor of infectious death, burn two eyes like, 
lights deep set in caves. This creature is clad in yellow satin of oriental web 
and cut. It plays a pzan of destruction upon a flute formed of a human 
thigh-bone, and a terrific scourge hangs at its girdle. And, as it pipes its 
notes of menace and of triumph forth, its comrade, Death, squats on the mon- 
ument to death beside it, and reads a journal of the day in which the ravages 
of revolution and the ravages of the plague are recorded side by side. 

The sentiment of this terrific allegory is expressed with a magnificent 
strength of execution, a caustic fearlessness of satire, and a fervid, however 
grim, poetic feeling. The date is 1850. 

It was, therefore, a creation as well as an inspiration of the time to which 


it applied. 
32 


ee : Paris and Venice 


en 


Bor at M ripe » Pupil of Madrazo the elder; later studied in Paris 
7 and Rome. — Medals, Paris (Lxposition Universelle), 1878. Chevalier 
te the Legion of ol 1878. Order of Charles III. of Spain. 


No, 22 


| THE SEINE NEAR POISSY. 


(LA SEINE PRES DE POISSY.) 


e BM, 15 x 263. 


‘‘ Fair is the Seine at Poissy, 

is | With its islets crowned by trees, 
\F ringed by spires of lofty poplars 

- Trembling in the summer breeze.” 


} 


$3 BESSIE RAYNER PARKES. 


| birth-place of that pious king who won the surname of Saint 
Nas Toute when he left his body on the African sands a prey to the pestilence 


that put a an end to the crusade he pod six centuries ago, is to-day a place 


“the artists who make their camp in the forest of peacledtnieay A portion of 
the river bank at Poissy is given over to the washerwomen, whose wash- 
“houses line the shore, and whose washing-floats dot the water, and what with 
the natural beauties of the scene and the quaint variations afforded by its 
- artificial adjuncts, it offers to the seeker after the picturesque a series of sub- 
jects admirably calculated to command his attention, to awaken his admira- 


tion, and arouse his industry with pencil or pen. js | 
3 ao 


MORE te oS 
v7, 


-) 
fi f J 
wy 


a 


}. 4IERMANN-LEON (Cartes), . . = unene 


< : & L. Born at Havre, 1838. Genre painter. Pupil of Philippe Rousseau and 
"\ of Fromentin. Medals, 1873, 1879. | 


9G ey ca ) 


COUNTRY AND CITY RATS—LAFONTAINE'’S 
FABLE. 


(‘‘LE RAT DE VILLE ET LE RAT DES CHAMPS.) 


25 X 194. 


Among the immortal fables of the ingenious master Jean de Lafontaine, 
that of the country and the city rats is one of the best told. It is a sly 
and shrewd satire upon worldly ambition and its perils, and upon the 
intangibility of worldly glory. The city rat boasts to his simple country 
cousin of the luxury and splendor of the life he leads, and the country 
rat, becoming envious, undertakes to forsake his safe and humbly comfortable 
rural retreat to share in the magnificence that he describes. But the city 
rat, in dilating upon the advantages of a metropolitan existence, has failed 
to apprise his unsophisticated friend of its drawbacks, of the ferocious cat 
with its deadly jaws, of traps set to mangle and maim, and the perils of 
a servant’s cudgel or a chambermaid’s broom. When the country rat comes 
to put the matter to a test, under the guidance of his experienced friend, 
he discovers these things for himself, and wisely abandons pomp and luxury 
to be gained at such price for the simpler and safer pleasure of the life his 


worldly congener scorns. 
34 


aN epee Ore ee eee Baris 


t Born at Busseto, Lialy, Pupil of Cicert. Medals, Paris, 1859, 1863, 1864. 
: ; Grand Medal of Honor (Exposition Universelle), 1878. Chevalier 
| ot of the Legion of Honor, 1868. Officer of the Same, 1878. Medal at 

Vienna Exposition, 1873. Knight of the Order of Saints Maurice and — 


4 } v | os Lazarus. Officer of the Orders of Turkey and Persia. Honorary P¥o- / / ”. 2 : 
| < 2s | OP 


| Sessor of the Academies of Parma and Turin. 


Fo Hee foto 


No. 24 


THE SULTAN’S ESCORT. 


(L7ESCORTE DU SULTAN.) 


22 x 184. 


‘« But yester-eve, so motionless around, 
. So mute was this vast plain, that not a sound 
SS ait But the far torrent, or the locust bird 
Hunting among the thickets could be heard :— 
- Yet, hark ! what discords now, of every kind, 
Shouts, laughs and screams are revelling in the wind. 
The neigh of cavalry, the tinkling throngs 
Of laden camels, and their drivers’ songs— 
Ringing of arms, and flapping in the breeze 
Of streamers from ten thousand canopies ;— 
War music, bursting out from time to time, 
With gong and tymbalons’ tremendous chime.” 
THOMAS MOORE. 


_ The cavalcade comes winding down through a pass in the hills whose 
bare and sun-scorched summits cut the hot sky in jagged undulations. The 
spearsmen ride in front, keeping a wary lookout against possible surprise. 
Their leader grasps his pistol in readiness for any sudden emergency, and his 
guardsmen are on the alert. With the way thus made secure, the body of the 
escort follows, surrounding and defending the rear of the splendid palanquin 
in which the pampered potentate lolls at his ease. All nature blazes with 
sunshine and heat, and the rich verdure of the palm grove, set like a jewel in 
the harsh wilderness, vies with the sumptuousness of the gayly caparisoned 
procession and the gorgeous conveyance it protects in enhancing the oriental 


splendor of the scene. 
35 


a 
kn ge 

nj) * 

oe = is 

eo LOTR (RS ee ee ei 
Fy to ee | 

: ra i. Born in Denmark. Pupil of the Royal Academy of Fine Arts. Removed to 
wo ) ¥) =f Rome, where he spent several years, after which he was called back to 
a if : Denmark and appointed Professor of the Royal Academy. 


ee 


ARTISTS’ AMUSEMENTS DURING CARNIVAL, 
ROME. 


(SOUPER D’ARTISTES PENDANT LE CARNAVAL.) 


22ers Te 


‘‘ Who can forget thy Carnival, Rome, thy Carnival flashing 
Joy and life through thy solemn streets? Ah, season when’ Pleasure 
Day after day its kaleidoscope turned of bright robes and bright faces ; 
Every one free as the wind, by fashion’s conventions untrammelled. 
All borne away by the moment, and chasing the butterfly Pleasure 
Till the stars faded and set in the cold gray light of the morning.” 
CHRISTOPHER PEARSE CRANCH. 


Even the Romans themselves do no madder honor to the annual carnival 
season than the strangers who form the famous Art Colony in the Eternal City. 
The artists’ carnival has been made immortal in song and story. Those who 
participate in it always continue to invest it with an individual picturesque- 
ness of costume and characterization, and they surrender themselves to its 
license with all the wild enthusiasm of the artistic nature. Mr. Cranch, him- 
self an artist as well as a poet, indicates with a deft touch the amazing revel 
of joyous animal spirits which his student days made him familiar with, and 
which lends to the Roman festival one of its most interesting and distinctly 
characteristic features. : 

It is evening of Carnival Day. In one of the studios the effervescent 
gathering of genius has assembled to do honor toa feast. The wreck of a 
banquet strews the table. Bottles whose mellow contents have aided the 


light course of pleasure on its tripping path litter the floor. It is a strange 
36 


Ee So a i ee A ns 


ARTISTS’ AMUSEMENTS DURING CARNIVAL, ROME. 
¥ 


medley of costumes and of types. An Indian fiddles lustily ; a herald blows 
discordant notes from a horn into the ears of a sailor; cavaliers and damsels in 
the garb of contrasting epochs gossip and flirt and cast the notes of broken 
song into the general uproar. All is life, gayety, the confusion of untram- 
melled and unbridled good-humor, born of the maxim that is as old as pagan- 


ism and as eternal as Christianity and civilization—“ dum vivimus vivamus ”’— 


while we live let us live, for to-morrow may hear our requiem sung. 


The date of the picture is 1872. 
37 


YS eee See Cay 


= 
Cs~« 
e@ 


4 


. SVSAINTIN (JuLes Emig), : ; Paris 


A : Born in Lemé, France, 1829. Genre painter. Pupil of Drélling, Picot, 
j f ere and Leboucher. Lived for several years in the United States. Medals, 
O Paris, 1866, 1870 ; Munich, 1883. Chevalier of the Legton of Honor, 
1877. aa 
he Aw ORG 
M. THE TWO ORACLES. 


(LES DEUX AUGURES.) 


20 LXer 


There can be no question as to which of the oracles that this buxom 
abigail consults will be obeyed. ; 

Between the advice of an insensate image and a living heart, the 
latter may be relied upon to claim the victory. Perhaps the comely 
soubrette, who has halted in the progress of her daily duty to address the 
question that is uppermost in her mind to this grotesque example of the 
art of Cathay, has an artful purpose behind her deference to it. It may, 
in her opinion, be quite as well to have the support of one authority for 


the decisions of another, and if the wish is parent to the thought, and one 


oracle is agreeable enough to nod an affirmative to the lightest touch, the 
verdict of the other can readily be interpreted to suit the circumstances. 
The artist has touched his satire in with a light hand. He has also made 
a pleasant picture of modest materials. The girl, in her gray house uni- 
form trimmed with black and her chambermaid’s cap, nods merrily in 
concert with the toy she interrogates. The accessories, like the animate 
and inanimate actors in the scene, are rendered with an _ unostentatious, 


but none the less faithful and capable hand. 


The date of the picture is 1878. 
38 


ee 


BEAUMONT (Cuartes Epovarp pe), . Deceased 


Born at Lannion, France, 1821. Genre painter. Pupil of Botsselier. 
Medals, 1870 and 1873. Chevalier of the Legion of Honor, 1877. 


No. 27 
THE TEMPTATION OF SAINT ANTHONY. 


(LA TENTATION DE SAINT peas cate 


23% X 37. 


Possessing the value of a religious allegory, and presenting as well 
unlimited possibilities for the exercise of a fantastic imagination, it is no 
wonder that the story of St. Anthony’s ordeal of faith has been a favorite 
subject with painters since painting began to bea part of the progress of 
civilization. The story has been depicted in every possible phase, from 
the wonderful diabolism of Callot’s great etching down to the gross pruri- 
encies of the modern realists, seeking an excuse for a coarse sensation 
in an appeal to the vicious with a perversion of a purertheme... To M. de 
Beaumont, an artist with a singularly acute invention and clear mind, the 
“Temptation” has provided the inspiration for one of his most striking 
works. 

The tempted saint is on his knees at the rude altar of his penitential 
cavern, his head buried in his arms and his hands clutched in prayer. 
Carnal temptation besets him in the shape of a radiantly beautiful woman, 
whose nude form, radiating a brilliant and unearthly illumination, hovers 
over the altar she seeks to stain. He is surrounded by gibbering and 
tormenting demons, in fantastically hideous forms, in which one finds the 
animal, the reptile and the human characteristics grotesquely combined. 

Through the opening of the cavern, whose vaulted roof and stony walls 
lose themselves in a vague somberness peopled with malignant shadows, 
a few rays of daylight steal in, only to lose themselves amid the gloom. 
The picture is lighted from the gleaming form of the demoniacal enchant- 
ress, a weird and supernatural light full of the livid glow of diabolic 


fires. There is no date. 
39 


| ql 
| | A 


hi. 


Os * 
wr 
@ 


| /) Born in Parts, 1842. Genre and animal painter. Pupil of Gérome. 
| alg Medal, Paris, 1874. 


No. 28 


THE HONORS OF THE FOOR 


- 


(LES HONNEURS DU PIED.) 
\ 


a 29 X 424. 


= 


‘‘A southerly wind and a cloudy sky 
Proclaim it a hunting morning.”’ 
OLD SONG. 


The spoils of victory fall to the conqueror. The decree, moreover, 
is just, according to human law. In the huntsman’s case, his reward is 


| the quarry, and the rules of the chase have attached to it several curious 


are familiar with descriptions of the sport, is the honors of the brush, which 
are extended to the lady who rides in first at the death. This custom iS 
duplicated in stag hunting by the honors of the foot, a custom which is, 
moreover, observed in all countries where the chase is pursued as a sport. 


In this case, the’scene is in France. The hunt has ended in an aban- 


doned quarry, late in the afternoon. The dogs have been whipped off and — 


are gathered about the fallen stag on the left, while the horns of the 


éclaireurs behind them proclaim the victory. The sportsmen who have been ~ 


in at the death are halted from the extreme right to the centre of the composi- 
tion, motionless in their saddles, while the chief piqueur presents to a lady 
the trophy that falls to her as having been at the head of the hunt when the 
death stroke was given. The landscape is bare and lifeless. The sky is cold, 
with clouds heavy with chill showers, across a rift in which the late sun 


sends a gleam of light without warmth in it. 


The date of the picture is 1872. 
40 


Pp ““GGOUBIE (Jean Ricuarp), « . ; : Pare 


; and interesting practices. One, well known to fox hunters and those who 


————— 


ee ee eee 


BEARD (Wi. H.), N.A., . New York 


Born tn Buffalo, 1814. Elected National Academician, 1871. ") 


No. 29 


SORT M. | ae 


“* Coward,—of heroic size, 
In whose lazy muscle lies 
Strength we fear and yet despise; 
_ Savage—whose relentless tusks 
Are content with acorn husks ; 
Robber,—whose exploits ne’er soared 
O’er the bee’s or squirrel’s hoard. 
Here, in solitude and shade, 
Shambling, shuffling plantigrade, 
Be thy courses undismayed. 
Eat and drink and have thy fill, 
Yet remain an outlaw still!” 


FRANCIS BRET HARTE. 


Bruin, foraging for his morning-meal, is prowling up a savage glen, pick- 
ing his clumsy way along the tumbling course of a mountain brook. The 
forest exhibits the wild traits of primeval nature in all their unrestrained 
picturesqueness, the last of the great wilderness that remains to New England. 
Nature’s strength and decay are seen side by side in vivid contrast. Towering 
stems reach to the arch of verdure which they support, and fallen trees 
entangle with the thickets. In the fastnesses of the forest reigns a mysterious 
gloom, full of the vague movement of leaves and boughs. Through an open- 
ing in the forest as the glen rises the sunlight forces its way in sparse shafts. 
Amid such surroundings Bruin should find abundant prey, safe from the 
armed intrusion of the hunter, whose feet have probably not yet profaned 
these wilds, into which the intrepidity of the artist has preceded him. 

The date is 1863. | 
4I 


ere 


YIEW IN THE WHITE MOUNTAINS. * Loe 


ce ERTRAN D (JAMEs), . , : .. Weceased 


Born at Lyons, 1825. Pupil of Périn and of Orsel. Later studied in Rome. 


SF Y at Medals, Paris, 1861, 1863, 1869. Chevalier of the Me of Honor, 
Le | S 1876. Medal 1878 (Lxposttion a 
es No. 30 Ks 


SERENADE IN ROME. 


(SERENADE A ROME.) 


24 XP Ac. 
‘‘ With passion replete, A silvery voice. 
Yet tender and sweet, Will some maid rejoice, 
Some soft serenade Who whispers, ‘ My love 
Swells out from the shade, Climb quickly above,’ 


While o’er the lagoon shines the opal moon.” 
FRANCIS S. SALTUS, 


The Roman night has fallen close and dark with the star-bespangled 
blackness of a moonless summer time. The mystery of the indefinite hours 
is upon the Roman ruins and among the Roman highways. It is an hour 
of silence, of idleness and repose. But the lover, who is never idle in the 
cause he loves, picks at his mandolin under his sweetheart’s window, and, we 
may assume, chants her praises to no unwilling ears, for her lattice is up and 
the light of her lamp gleams behind the jealously bowed blind, and the steps 
that lead up to her doorway are a silent invitation to feet that have travelled 


them before. At the feet of the ardent wooer, as if to offer to his subdued 
42 


SERENADE IN ROME. 


excitement and interest the contrast of stolidity and animal content, a herds- 
man of the campagna is stretched in the road, with his dog on the watch 
beside him. Along the wall of some palace garden that closes the road in, 
a couple of guitarists touch their instruments in gentle accompaniment to 
the singer’s voice, while several idlers listen, absorbed in the romance of the 
moment and held spellbound by its melody. The deserted street loses itself 
in shadows. In the old palace garden the nightingale is hushed. The hour 


_ belongs to lovers and to love, and the field is all their own. 


The picture is dated 1868, in which year the artist was in Rome finding 


his best inspiration amid its picturesque present and its romantic past. 
43 


FYACOMIN (Atrrep Lous), . | | — 


/ 
, Born in Paris, 1843., Medal, 1876. 


iJ) At Aoi oh No. 31 
oe . FAUST AND MEPHISTOPHELES. 


One ayes 


“ Faust: Reluctantly must 1 at length 

Speak the spell of greatest strength. 
“ Mephistopheles [coming forward]: Why all this uproar i ? 

Is there anything 
In my poor power to serve you? 
Most learned master, 
Your humble servant.” 
GOETHE. 


The temptation of Faust, as Jacomin paints it, has a peculiar interest in 


being a close delineation of the scene of that great allegory as Gounod 
placed it on the stage in Paris, in operatic form, in 1869, at the Grand Opera 
House. At that time the great baritone Faure impersonated the demoniac 
spirit of the opera with remarkable spirit and success. M. Jacomin has made 
a close study of this famous singer in his principal figure. Mephistopheles, in 
the conventional costume of flame color and black, stands in argument with 
the gray scholar who has summoned him to be his familiar. Faust is seated 
attired in his doctor’s robes. The scene, crowded with books and philosophi- 
cal and chemical implements, displays the picturesqueness and eccentricity of 
a philosopher’s study. The Faust, like the Mephistopheles, is a portrait of 
the singer who impersonated the part, and the scene, while closely following 
the setting of the stage, is yet without any suggestion of the artificiality of 
arrangement that characterizes theatrical tableaux. 


The date of the picture is 1869. 
44 


feet TR (Epovarp), eae es Paris 


Born in Paris. Pupil of Hébert and Bonnat. 


No, 32 


THE GALLERY OF THE LOUYRE}\,= 


~ 


(LA GALERIE DU py, Uae © 2) 


39 X 32—1862. 


The Louvre, a palace of kings converted into a palace of art, dates its 
origin back into the remoter past of French history. The name appears in 
the chronicles for the first time in 1204, when Philip Augustus completely 
reconstructed on its present site a still more ancient edifice in order to make 
of it a royal residence. Francis I. was, however, the founder of the Louvre 
as we know it. Successive monarchs added to it, until under Napoleon III. 
the ancient Louvre became part of an enormous irregular quadrangle of 
_ palaces, the other extremity of which was formed by the Tuileries, which was 
~” commenced by Catherine de Medici in 1564. With the Seine on one hand, 
the splendid Rue de Rivoli on the other, and facing over its gardens upon the 
Place du Louvre, the palace remains to-day one of the most beautifully placed 


and charmingly surrounded public buildings of Paris. The Louvre as an art 


museum owes its origin to the French Revolution. It was by a decree of 


the Convention of 1793 that the collections of the various royal palaces of 
Paris were gathered in the Louvre, and with the additions that have since 
been made to them, they constitute the greatest art collection in the world. 
The picture shows the entrance from one of the galleries to another, with the 


uniformed guardian at the door, and a couple of female visitors inspecting the 


pictures. Outside the wide and lofty windows are seen the trees of the 


palace garden, or more properly speaking, park. 


The picture is dated 1860. 
45 


. 


7 


: 


\ 


NA 
4 ad ?: 
a 


re Ae Snel oa ee 


HEULLANT (Fe.ix ArManp), eee Paris 


/ g A Born in Paris, 1834. Genre Painter. Pupil of Picot, of Giraud, and of 
re, \a Cabanel. 
At ‘) sd st 
EL 
oy v No. 33 
. M ARGADIA. 


(‘“* ARCADIE.”) 


21 X 364%, 


‘‘ Beside the stream and in the alder shade, 
Love sat with us one dreamy afternoon, 
When nightingales and roses made up June, 
And saw the red light and the amber fade 
Under the canopy the willows made, 
And watched the rising of the hollow moon, 
And listened to the waters’ gentle tune, 
And was as silent as she was, sweet maid, 
Beside the stream.” 
EDMUND GOSSE. * 


In Arcadia it is always summer, and summer sings the cradle song of 
love. It is the ideal period of the year as Arcady is the ideal spot of all the 
wide, wide world. The pellucid river mirrors a sky of opal and of pearl. 
The alders on its marge send their reflections down into the rippleless flood 
without a shiver. The grasses faint with the scent of the flowers, and the 
breeze of balm lulls to dreams of more‘than mortal beauty that enhance 
rather than disturb repose. There is nothing real about “ Arcadia,” more’s 
the pity, but its poetic and its pictured semblance. Since we cannot grasp 
the reality we may wisely accept the counterfeit, and be content that it, at 


least, is ours. 
46 


'v— 4 


HEULLANT (Fetix Armanp), . its ~~ Paris 


No, 34 


ARCADIA. 


(‘‘ ARCADIE.”) 


(COMPANION TO NO, 33.) 


«« With pipe and flute the rustic Pan 
Of old made music sweet for man ; 
And wonder hushed the warbling bird, 
And closer drew the calm-eyed herd,— 
The rolling river slower ran. 


“ Ah! would, ah! would, a little span, 
| Some air of Arcady could fan 
This age of ours, too seldom stirred 
With pipe and flute.” F 
AUSTIN DOBSON. 


__ The poets and the painters have made of the Arcadia of the Peloponnesus 
an earthly Paradise which their imagination has exhausted itself to glorify. 
It is with them the sublimation of all mundane nature, the perfection of pas- 
toral days, in one long dream of poetic idleness and idyllic ease. They have 
endowed it with an atmosphere of its own where storms never darken, and 
blasts never chill; a climate of its own where rude winds never blow, and 
made it, in short, a country in which nature to be seen is to be worshipped in 
the persons of her tutelary deities, Pan and Diana. It is typically the land 
of peace, innocence and patriarchal manners, and whether it is presented to 
us with the pen of the poet or the brush of the artist, can never lose its 


gentle and soothing charm. 
47 


at Oe ere 

oii | 

nd * | 

i” Bl SRSTADT (Avsert), N. A, New York 
y 

eg f) Born in Diuisseldorf, 1830. Brought to America at an early age. In 

a> va 1853 he returned to Diisseldorf, and entered the Academy there ; after- 

R ward he studied in Rome, Switzerland, and Germany. Elected a Mem- 


ber of the National Academy, 1860, and later was decorated Chevalier 
of the Legion of Honor, France. In 1867 he was sent to Europe upon 
a Government commission, to make studies for a painting of the “ Discovery 
of the North River vy Hendrik Hudson.” Several of his paintings are 
owned by the United States Government. 


ak No. 35 
SUNSET IN THE YOSEMITE. 


36. % 52. 


« Environed by a mouniain wall, 
So fierce, so terrible, and tall, 
It never yet had been defiled 
By track or trail, save by the wild, 
Free children of the wildest wood ; 
Where stars and tempests have a home 
And clouds are curled in mad unrest, 
And whirled and swirled by crag and crest.” 
JOAQUIN MILLER. 


In the golden and crimson splendor of the departing day the great valley 
is sinking to rest under a coverlet of cloud. The incredible magnificence of 
the western sunset bathes the towering cliffs and the stream that winds its 
way between them in a glory of color that only the most daring pencil may 
essay to reproduce. It is as if the auriferous treasures of the earth were 
fused into the sky in one superb triumph of pigmentary perfection. The 
forest, darkening with the shades of evening into mysterious and solemn 
somberness, catches here and there a glint of the last rays of the sinking 
luminary. The waterfalls, tumbling in spray from the dizzy heights, flash 
with its level beams like cataracts of jewels, and it turns the ripples of the 
river into ropes of gold, that will presently lose themselves in the vapors of 
evening that have drifted in from the distant sea. 


The picture was painted in 1868. 
48 | 


ee iy N aples | 


x Pupil of Fortuny. Professor in Naples. y 7 ye 
ee No. 36 re ; 


THE LISTENER. 


. (LA CURIEUSE.) © 
PEN-DRAWING, 


12 x 83. 


| ing ata door ina rich interior. Drawn freely and boldly, but with 


ye Born in Rome. Genre Painter. Pupil of Fortuny. Professor in Naples. 


(bh | TH Bae ER, 


(‘* LAS LETTRE,”) 


tea att es MUA NES 


12 x 84. 


In the snug corner of a richly stocked library, a gentleman in the costume 
of the latter portion of the last century, with cocked hat and embroidered 


coat, is perusing a letter. He has a cane under his arm, and his attitude is 


and careful pen-drawing of one of the artist’s best-known single-figure pictures. 


Is dated 1871. 


50 ir 


IMONETTI (ATTILIO CAVALIERE), . oye Netess 


one of interested attention. Behind him is a carved table. This is a spirited | 


—— 


i 3 orn in i on 3 Pupil y the oe. eat te Medals at Rome, Turin, 
a and Maples: an 2 Be : of (0 ee 
a fee (No. 38 fai. oan tes 


aN BRAB TAMBOURINIST. 


each x 7. 


— 


ind 
cating on é 2 tambourine. His figure suggests a rhythmic movement in 


aera 


ae ‘ne whom he bears time. 


| ; 
; i = 
iy y 


0 Rc SST ( aa iad a Paris 


tN 


FRENCH CAVALIER—TIME OF HENRY IIL 


114 x 6, 


A pen-drawing of a richly costumed cavalier of the era of Henry III, 
of France. The figure is spirited and life-like, standing in a proud attitude 
as if of expectancy. It is a drawing from a picture by the artist. and is 


dated 1871. 


52 


ai 
rs 


MEISSONIER (Jean Louis Ernest), . Paris db /0 i 
a 


Born at Lyons. Pupil in Paris of Léon Cogniet. Medals, Paris 1840, 1841, a pn 
1843, 1848; Grand Medal of Honor, 1855 (Exposition Universelle)e We 3 f) 
Grand Medal of fonor (Lxposition Universelle), 1867. Grand Medal NA wv. * 


of Honor (Lxposition Universelle), 1878. Chevalier of the Legion of . 
Ffonor, 1846. Officer of the Same, 1256. Commander of the Same, 4 7 
1867. Grand Officer of the Same, 1878. Member of the Institute of 
France, 1861. Honorary Member Royal Academy, London. The | 
paintings by this artist have commanded higher prices than those of any % c 
living painter. fits famous picture entitled “1807,” in the Stewart 
Collection, was sold for $66,000, tts purchaser afterward presenting it 


to the Metropolitan Museum. eo ee o 
| H ‘ 


No. 40 


ANCIENT ARMOR. a 

gs x 6, % 

| WS 
An exquisitely accurate study in black and white of a trophy of armor. 
The minute attention given by the artist to detail, and his almost photo- 
graphic closeness of observation and fidelity of repetition are admirably 
illustrated in it. Not a single feature of the original is neglected, and no 


minutest point of the effect of light upon the metal left in doubt. 
53 


s \ alt 
1 


19, BONHEUR (MARIE Rosa), ; : » Paris 


i 
A 
“a ee 
Ye eo fT 


Born at Bordeaux, Mercia 22, 1822. Pupil of her father, Raymond B. 


Bonheur, Began by copying in the Louvre ; afterward made studies and 
sketches near Parts. Her first two pictures, exhibited at Bordeaux, 1841, 
attracted much attention, and were followed by others which established her 
world-wide fame, During the Franco-Prussian War, her studio and 
restdence were respected by special order of the Crown Prince of Prussia. 
Since 1849 she has been director of the Paris Free School of Design for 
Young Girls, which she founded. Elected member of Antwerp Institute 
in 1868. Medals, 1845, 1848, 1865, 1867 (Exposition Universelle). 


Cross of the Legion of Honor, 1865. Cross of the Order of Leopold, —— 


1880. Commander’s Cross of the Royal Order of Isabella the Catholic, 
1880. Conceded to be the greatest female painter the world has pro- 
duced. Her celebrated “Horse Fair,” in the Stewart Collection, was sold 
for $53,000, and now f in the Metropolitan Museum. 


Of A. Koed 


READY FOR THE MARKET. 


No. 41 


(CHEVAUX A VENDRE.) 


Ir x 18, 


A black crayon drawing of half a dozen stout Normandy horses, which 


have been gathered in from the fields for the horse market. Their tails 


are clubbed, and they have the sleek semblance of beasts well fed for sale. 


On one of them is a saddle, but the rider who has charge of the string 


is evidently bibbing in the wine-shop whose palm-branch shows from the 


54 


tk 


ag house beyond the tree to cinta fe charges are felivered. 


le : makes 1 friends over his ups the horses make ene out 


~The drawing is full of spirit, and 


r of the animals in their various subtleties of individuality is 


i ] 
i 
ie 
‘ 
- 
, 3 
a 
' : 
5 i 
. 
; 7 
a 
i 
sy 


-DECAMPS (ALEXANDRE-GABRIEL), ; Deceasi d 


Born in Paris, 1803. Pupil of Abel de Pujol. Medals, Paris, 1831-1834. | ‘Na 
, | f Chevalier of the Legion of Honor, 1839. Officer of the Same, 185 1 : 
2 q Died, 1860. +, y. i we 


M S No. 42 


HOUND. 
| Be Stet ; 83 x Of. % ' ‘ er” 
= | i 
a ie A study from life of a sitting hound, one of a species of dogs the 


artist was especially fond of studying, in consequence of his personal Nie 
love of the chase, which resulted in his breaking his neck by a fall from 


| 


b: his horse while hunting in the Forest of Fontainebleau. Or 


The drawing is executed in sepia. » . 
pease — | Be 


ik ee tile, Jy leeds Se a i ‘ae - 


f) BERNEBELLECOUR (Etienne Prosper), . Paris _ 


Born at Boulogne-sur-Mer. Pupil. of Picot and of F. Barrias: Medals} 
. | % Paris, 1869, 1872, 1878 (at Salon and Lxposition Universelle). ee 
| | lier of the Legion of ger 1878. 


a Pfs fae 
| No. 43 ee ee 
| ree THE LOVE TOKEN. 


| 

i 

| 

% (VARBRE CONFITANT,) 
F | 


144 X IO, 


“I carved her name upon a tree, 
Ah me! 
My Chloe’s name upon a tree 
I carved in letters fair to see ; 
Now Chloe has forsaken me, 


1”? 


| Woe’s me! 
| OLD ENGLISH BALLAD. 


To the friendly confidence of the forest, youth and passion confess the 
| secret of their love. How many similar symbols has the hand of adoration 
| carved upon Nature’s face! And how often has the fickle god laughed at 
| these enduring emblems of courtship and flirtations that have ended in 
| a naught, but left these notes of their progress to mock their futility! Perhaps 
| this lover's fate may be happier than that of the hero of the old ballad. 


His present, at any rate, is happy enough. 


The picture is executed in water colors, and is dated 1869. 
7, Dene ee er TREE MORNETO, 57 


| 50 a ie 


BV. DN N UTELLI (CAVALIERE Scone . Sin Ona 


Le Born in Rome. Genre painter. Studied tn Vienna under ph iba S8 
afterward in Paris under Heitlbuth. Medal, Paris, 1864. 


DAY DREAMS ON THE CAMPAGNA, 
(REVES DE JEUNESSE.) 


15 x 104—1871. 


‘‘ Beautiful dreams, that haunt the younger earth, 
In poet’s pencil or in minstrel’s song, 
Like sighs or rainbows, dying in their birth, 


teas 


Perceived a moment, and remembered long ! 
THOMAS KIBBLE HERVEY. 


The youthful dreamer is stretched on his back upon a pleasant plain. 
He has laid his book by, and is watching the swallows skimming their airy 
flight overhead and the clouds making their voyages of mystery across the 
zenith. In the distance Rome, from which, no doubt, the young pursuer 
of waking phantoms is a whole world away, is seen. 


The picture is executed in water Brie: and i is dated 1871. 
58 


—s _ 


27 62° 
MemeeazO (Rieko), . . . . . Paris LOM 


Son of Federico and brother of Raimundo de Madrazo. Has eeu: OG (1) 2. \ 
reputation as a painter in water colors. = 4 


a Se 


STREET IN, GRANADA. 


18 xX 11—1871. 


The streets of Granada, like those of all towns of Moorish construction, 
are very narrow and winding. The private buildings are, with few excep- 
tions, of the simplest architecture, without any external ornament. In the 
town itself there is scarcely an old house that does not show some signs of 
Moorish construction. Some of the Moorish buildings are still completely 
preserved. Others are built about and absorbed by the newer Iberian 4 
structures, till only fragments of them show inthe masonry, that has literally : 
swallowed them up. The houses are all built about an inner court or patio, 
which is reached through a door opening from the street, and a little dark 
ante-court called the zaguan. In the patio, which is paved with stone, a 
fountain plays, and oleanders bloom in tubs and huge jars of clay baked as 
hard as stone. Balconies and galleries surround the patio, and the doors 
of the living and other rooms open upon them. Creeping vines clamber 
everywhere, and under the dead silence of the glowing sky the tinkle of 
falling waters and the hum of drowsy insects alone disturb the perpetual 
quiet of the decaying town. On their street fronts the houses exhibit 


‘only black doorways and white walls, that blaze in the sun, broken here 
59 


STREET IN GRANADA, 


t , 


s 


of the hillsides, end at oe very street where vate began. iy c doe 


Ne fa 
in oe ae a donkey driver ges on his face on the oe a Wes 


history lingers, ghostlike, in the ene air. 


The picture is executed in water colors. 
60 


x . ' 
ae Oo 


he sae ho 2 $3 
— Wks 
1 TEN KATE (Herman FREDERICK), The Hague = 


a 
| 


Cornelius Kruseman; later in Parts. Member of the Acade 


Rotterdam. | 
No. 46 emma 


DUTCH GUARD-ROOM. 


Born at The Hague, 1822. Genre Painter. Studied in Amsterdam bb Y . 
ye 


be | 


10# x 163, 
. 

In an ancient barrack-room, a company of troopers are listening to the 
| story of some recent event of the wars which a comrade is recounting with 
animation and evident dramatic effect. The costumes are of that period 
when the Netherlands made their splendid struggle against the cruel and 
tyrannical authority of Spain, and the interest with which the story teller is 
followed would suggest’ that he is dealing with some episode of unusual 
importance in the great campaigns for national deliverance. The group 
includés all varieties of characters, from the young soldier, rich in ambitions 
and enthusiasms, to the veteran, “ bearded like the pard,” for whom battles 
hold neither secrets nor terrors. The martial quality of the figures is char- 
acteristic of the period. A noble deep fire-place and a large window give 
variety and dignity to the background, and the Dutch standard is furled in a 
corner, ready to be clutched at the first summons to battle and borne to the 


fray by willing hands. 


The picture is a water color, to which medium Mr. Ten Kate is chiefly 


devoted. 
61 


¢ 


we? 
iP 
ae 


a 
iy 


<A af ™ 


? Rah 
se 
ort Fi 
a atl 
Vite) 


a 
4 ae 
ee 


“ 
Prete’ 
im 


U 


WISSEL ( a 


Qe or Pupil of Fortuny. er ‘a aia 


No. gt 
BUTTERFLY. a 
_ (PAPILLON.) as 


egtk ag ial! boo ga 


The spirit of the butterfly hovers amid the ruins of an ancient garden. 


It is typified by an ethereal female form perched on a broken tree and listen- 


ing to the sad murmur of a ruined fountain. Nature, healing the scars of 


time with a compassionate hand, has lavished her wealth of bloom and blos- 


som on the wasted splendors of the past. A tender and poetic atmosphere — 


envelopes the allegory i ina dreamy haze. ons. “ tree 


fee 


The date is 1870. 


DE NITTIS (Joseru), ioe ok, Cee Deces pre 


Born at Barletta, Italy, 1846. Died at St. Germain, 1884. Studied nnd Ue 


a Crome and Meissonier. In the Salon of 1872 he gained great success by 
is “ Road from Naples to Brindisi,” and his“ La Place des Pyramides,” 
exhibited, later served to strengthen his as M V, Palas 1876, 


; 1878, Legion of Honor, 1878. W @. inte 


No. 48 


CHINESE SHOP. 
- (BAZAR CHINOIS.) 


14} X Log. 


_. The fair sex indulges in the exercise of one of its pet prerogatives even 
in far Cathay. Wherever the commercial interests of man have set the shop 
up, woman finds time to. dally among its enchanted stores of frippery and 
finery. pune: Chinese shop presents marked differences to that of the newer 
nations ‘of the West. Its stock is of an unusual character, the most salient 
features of it being a’ number of large and showy paper lanterns suspended 
from the beams overhead. In place of the glitter and brightness of the 
European magasin, a rich gloom prevails, against which the vivid colors of 
the robes of the two shoppers, who are Treading a notice Basse on a screen, 


Show with Brilliant relief. 


The picture is executed in water colors, with daring freedom and force, 


and is dated 1870. 
63 


Paris and Venice 
FG Born at Madrid. Pupil of Madrazo the Elder ; then studied in Paris 


if _ and Rome. Medal, Paris (Lxposition Universelle), 1878; Legion of 
si Honor, 1878; Order of Charles IIT. of Spain. 


No. 49 
BOATING PARTY IN THE BOIS DE BOULOGNE. 


: 


‘“’Twas an afternoon in the Bois, and the sun shone golden and fair, 
And the poplars scarcely stirred in the balmy summer air, 


| yrs R“LE LAC, BOIS DE BOULOGNE.) 
‘ 


(WATER COLOR.) 


144 X I04. 


As we drifted under the willows, amid the lilies and sedges, 
And smiled at the gossipy ducks, that quacked at the lake’s green edges.” 
ALFRED TRUMBLE. 


The upper and lower lakes“in the Bois de Boulogne, which are little 
more than ponds, by the way, are a little treasury of pictures. They are 
divided by the Carrefour des Cascades, which connects the drive from the 
Porte de Passy with the Chemin de Ceinture, and of the two, the Lac 
Inferieur, with its two islets connected by a rustic bridge, and its charm- 
ing rural chalet, is by far the more picturesque. It is on this delightful 
little body of water that one may go boating, and linger under bosky 
embankments, or fish for minnows with rod and line to an audience of 
wondering ducks and swans. It is a peculiarity of the scenery of the Bois 
de Boulogne that everything about it is in proportion, so that even the 
restricted area of nature and the narrow dimensions of the lakes look 
larger than they are, thanks to the symmetrical fitness of all their details. 
Under a brilliant summer sky, flecked with white cloudlets over its placid 
blue, one may idle on the bank or in a boat upon the lake, as far away 
from the world as if all Paris were not riding by behind a broken girdle 
of bushes. Such sylvan idyls as M. Rico has painted in his charming water 
color, are endlessly repeated in the variations of the twin lakes in the 


Bois. 
64 


, 
: 


em LELOIR (Louis ALEXANDRE), . Deceased Q 


: Born at Paris. Pupil of his father, J. B. A. Leloir. Medals, Paris, 
1864, 1868, 1870, 1878 (Exposition Universelle) ; Legion of Honor, 


(ee 1876. 
. ie 
‘ No. 50 « | / im 


"AFTER THE SUPPER, ONE MUST PAY: 
1 . ae ese (APRES LE SOUPER.) 


Io x 144, 
. > 
| It is an old saying, and an eternally true one, that there is no pleasure 
rie in life without its compensating pain. The elderly cavalier in the violet 
| coat, that might do credit to a courtier’s shoulders, has feasted and made 
| merry. That the cabinet particulier has witnessed a savory repast, the 
remnants of it on the table show. The wines have been of the right 
bouquet, and the cordials of the proper flavor. Moreover, pleasant com- 


pany, and pretty withal, has added zest to the banquet. Good digestion 


has, no doubt, waited upon appetite until the confounded waiter brought 
inthe pill. He is an feedenation of the reveller’s fate, this unmoved vassal 
of the table, who leans placidly against the wall, while the perplexed guest, 
whose hospitality has outrun the discretion of his purse, ponders over the 
items he has consumed, and dips into his pocket for the wherewithal to 
pay for them. It is easy to see, by his expression, that in spite of his 
gay attire, his exchequer is not in the most superabundantly plethoric 


state. Perhaps it is just as well that his fair companion should make her 
{ ; 65 


exit before an explanation is arrived at. There are occasions wl 
ei to a discussion are better than nas “and this” is a : 
| ee 


history of ass nature that is as Be enty turned to- ie as if 


ee an Wid 


when the Bourbon court was yet making merry on the brink of the Vv 


cano. M. Leloir’s figures wear the costumes of the past. 


they are acting out is eternal. | 


The date of the picture is 1870, 
66 ; 


“Map RAZO Bean UO), eres | reine» Paris 


The Genil and the gold-bearing Darro spring from two narrow, rocky 
valleys on the eastern declivity of the Sierra Nevada, and join at the foot 
of the Cerro de Santa Elena to send their united waters down the channel 

of the Genil, to mingle with the Guadalquivir. In the valley of the 
| Darro, on both its banks, and on the eastern and southern sides of the 
Cerro de Santa Elena, reaching down into the plain where the Darro and 
Geni unite, lies the most ancient city of Grenada. The high back of the 
Cerro is crowned by the strong fortress of the Alhambra. That part of the 
city that rises on the right bank of the Darro is called the Albaycin, and 
forms in some degree, like the Alhambra, a town by itself. On the decliv- 
ities of the Alhambra and the Albaycin the houses and streets rise one 
above another, like terraces, mixed with luxuriant gardens. The imme- 
diately surrounding country exceeds, if possible, the other parts of the 
Vega in fertility At luxuriant vegetation. The narrower parts of the 
valleys of the Darro and Genil, and the small side valleys are covered 
with thick eroves of pomegranate trees, and a girdle of gardens spreads 
itself all around the city. Overhead is a sky of deep sapphire, spotted 
with fleecy clouds, and the horizon is walled in by the snowy summits of * 


the rocky Sierras. 


Printed in water colors, and is dated 1871. 


Son of Federico and brother of Raimundo de Madrazo. Has acquired 3 a 
reputation as a painter in water colors. / ' 


No. 51 es x ih 
VIEW AT Ate K /- 
| Piro. x ST. 


«¢ And there the Alhambra still recalls 
Aladdin’s palace of delight : 
Allah il Allah ! through its halls 
Whispers the fountain as it falls, 
The Darro darts beneath its walls, 
The hills with snow are white.” 
HENRY WADSWORTH LONGFELLOW. 


67 


2 


yap % CRICO (Martin), Paris and Venice 


mets Qo 


i Ty Gag F » Born at Madrid. Pupil of Madrazo the elder ; later studied in Parts and 


' i» £4 » 
; ran a g 


Le y ge a Rome. Medals, Parts (Exposition Universelle), 1878; Chevalier of the 
- Legion of Honor, 1878; Cross of the Order of Charles ITI, of Spain. 


| WASHERWOMEN AT POISSY. 


(BLANCHISSEUSES A POISSY.) 


I4 X 204. 


‘The nightingales were singing, 
At Poissy on the Seine, 
As I leant above the river, 
Flooded high with summer rain. 
Dear is that royal river, 
With ceaseless, noiseless flow, 
Past the gray towers of Paris 
From the woods of Fontainebleau !” 
BESSIE RAYNER PARKES, 


The Seine flows its placid course, under a summer sky full of light and 
flecked with fleecy, white cloudlets. A tender atmosphere suffuses the land- 
scape with clear, pure blues and delicate gray greens, soft as the breath of the 
midsummer breeze that scarcely ruffles the surface of the water. On both 
banks of the stream women are busy washing their linen, beating it upon the 
stones and gossiping as they work. Some men in a passing boat shout a 


jovial salutation, to which one of the d/anchisseuses responds merrily. Among 


the stones of a grassy islet in the river a boy is fishing, too intent upon his 


: 
2 
4 


sport to give even the attention of childish curiosity to what is going on 
around him. A boat is drawn in on the strand near by. In the distance, 
over the farther bank of the river, the houses of the town are seen. The 


gayety and animation of a perfect, sunshiny day are expressed in nature, and : 
reflected in the humanity which gives life to the scene. 


The picture is a water color. 
68 . 


SIMON Peet Tl (Arrizio, Cavarienny rpg ohne ho! ( 


Born in Rome. Genre Painter. Pupil of Fortuny. Professor in Naples. 


No. 53 


A CONCERT ; 
22 x 164. 1869. : 


“| pant for the music which is divine, 
My heart in its thirst is a dying flower ; 
Pour forth the sound like enchanted wine, 
Loosen the notes in a silver shower.” 
PERCY BYSSHE SHELLEY. 


One can imagine the melody which these musicians of the chamber are 
discoursing to be an agreeable one. Their countenances wear an expression 
of satisfaction that no discords could call up. It is a trio of aristocratic 
“amateurs, of which each member is engrossed in his share of the concerted 
task with the absorption of the true artist. The performer on the flute has 
laid his coat by, and is inspiring his tuneful reed in his shirt-sleeves. The 
*cellist looks beyond the walls of the chamber into a space full of musical 
dreams. The ecstatic eyes of the violinist lose sight of the notes as he draws 
them under his bow with a loving hand. Music should be happily at home 
amid such surroundings. The rich cabinet, with its glass doors reflecting the 
sumptuous apartment, the screen on which a mandolin is suspended, the 
table, with its crystal pitcher and glass, combine to form a scene of luxury in 
which the actors in the episode are at home, and in which the strains they 


concert should echo with a richness and a volume befitting their confining 


walls. 


This water color is dated 1869. 
69 


3 


42 


/ 


679) 


4 


a 


/ 
2 OF 


| 
5 


DETAILLE (Jean Baptiste Epouarp), 


a 
4 a ay © — Born at Paris, 1848. Favorite pupil of Meissonier. Medals, Paris, 1869, 
%) #) ) uf U ‘oe 1870, 1872. Chevalier of the Legion of Honor, 1873; Officer of the 
rv Same, 1881. Grand Medal of Honor, 1888. 


ac | We 
ty 4 Pro fn Novos 
f 


SCENE IN THE FRANCO-PRUSSIAN WAR. 


(EPISODE DE LA GUERRE FRANCO-ALLEMANDE.) 


8? x 11g. 


The German artillery attack is decimating the French line of battle from 
| a distant hill. A squadron of French cuirassiers is making a charge, closing 
. up as they ride, the gaps torn in their ranks by shot and shell. The dead strew 
the ground, which is littered also with cast-off knapsacks and similar para- 
phernalia that the soldier discards on going into battle. Under the terrible 
fire men melt away like snow at the flame of a furnace, and a commanding 
general, galloping down the line, orders the regiment of lancers in the fore- 
sround back out of their wanton exposure to destruction. The commander 
of the regiment salutes, with a respectful sword and a reluctant face. The 
men, from their position of enforced inactivity, watch the raging of the fight 
with eyes of discontent. Over all the smoke of combat and the clouds of hot 
dust beaten up by feet in the mad hurry of destruction sully the smiling sky, 
and are rent asunder here and there by the bursting of a shell. In sucha 
scene, it is no wonder that the soldier’s blood stirs, and his heart beats angrily 
against its prisoning bars. With the challenge to the combat roaring itself at 
him, and the wild fascination of the fight tempting him, he sits helpless, raging 
within himself at the discipline which has fettered his hands and laid his 
martial usefulness by the heels. The expression upon the faces of M. Détaille’s 
lancers are indices to the martial regrets that they suffer. In each one reads 
the contest between submission to the iron laws of command and the stirring 


madness of battle. 


The date of the picture is 1871, and it is painted in water colors, with 


great minuteness and accuracy of detail. 
70 


FORTUNY (Mariano), She eel” co) od Neb easer ‘ 3 } ) ¢ 


Born in Reiis, Catalonia, June 11, 1839. Pupil of the Barcelona Academy, ~ f 
Chevalier of the Order of Charles I1l., Prize of Rome from Spain, Y d : 
1858. Died in Rome, November 21, 1874. Diploma to the sale. 
of Deceased Artists (Exposition Universelle), 1878. ~ 3368 


yt Ko 


No. 55 


ParrFERARI, 


19 X 4. 


“ The champaign with its endless fleece 
Of feathery grasses everywhere ! 
Silence and passion, joy and peace, 
And everlasting wash of air,— 
_ Rome's ghost since her decease.” ~ 
ROBERT BROWNING. 


He sits under a wall, among the ruins which chronicle his country’s great- 
ness and decline. The Roman sunlight warms him, while it soothes his senses 
as he blows his spirit into the rude and simple instrument of his race. He is 
resting from a journey, as his staff leaning against the wall denotes, and as he 
sends the notes of his pipe wheezing out upon the air, his eye dwells listlessly 
upon the lean flocks grazing amid the decay of an empire. His uniform is that 
of his class; a vest of red wool, blue breeches, and a loose shirt of coarse 
cotton stuff whose white sleeves show through his sleeveless coat. Simple his 
wants and few, he has achieved the crown of his ambition, idling by the way- 
side, and silencing with the drone of his bagpipe the sleepy murmur of the 


cicadas and the dull buzzing of the wandering bee. 


The picture is a water color, of Fortuny’s later Roman period. Is dated 


1868. 
71 


\ MEISSONIER (Jean Louis ERNEst), . . Ve 
Born at Lyons, 1813. He went to Parts when quite young, and was, for a 
time, a pupil of Léon Cogniet. First exhibited at the Salon in 1836. His 
picture “A Dream” (1855) was purchased by Napoleon III. and presented 
to the late Prince Albert, of England. Medals, Paris, 1840, 1841, 1843, 
1848. Grand Medal of Honor, 1855 (Lxposition Universelle). One of 
the eight Grand Medals of Honor (Exposition Universelle), 1867 ; Grand 
Medal of Honor (Exposition Universelle), 1878; Chevalier of the Legion 
x of Honor, 1846; Officer of the Same, 1856; Commander of the Same, 
1867 ; Grand Officer of the Same, 1878. Member of the Institute of 
; France, 1861. yy Member of the Royal Academy, London. 


Hy Ket 


CAPTAIN OF THE GUARD—LOUIS AHL 


: PORTRATT OF] THE AK LIST: 


No. 56 


bho fi eae 


He stands in the gateway of the guard-house, surveying the passing of the 
town with martial disdain. There is a suggestion of insolence in his attitude, 
erect, with one foot slightly advanced, and his right hand resting on his hip 
and flipping a riding whip as if impatient of so childish a toy. His soldierly 
face, tanned by the sun of long campaigns and the smoke of battles, is haughty 
but good-humored. His gray moustaches bristle gallantly, and the twist to his 
imperial denotes that he has just twirled it, perhaps at some passing damsel, 
whose combliness has caught his fancy. Resting his left wrist on the hilt of 
his long sword, he holds in his left hand, by its fingers, a glove with which he 
beats time against the handle of. his trusty blade. Over his gray coat lined 
with pink a polished breastplate flashes in the sun. The blue plume in his 
hat cocks itself audaciously. His legs are encased in claret velvet breeches 
and high boots of Spanish leather. Whether it be to ride to a duel ora 
trysting place, to a court reception or a field of battle, here is one who is ! 
equally ready for the task, whatever it may be. | | 

The reign of Louis XIII. was preéminently that in France during Haley 


the gentleman advent nee flourished. The kingdom was filled with soldiers of _ 
72 


<p AN se Siete 
he en ne ee ae ay 
a ye Salter ir 


CAPTAIN OF THE GUARD—LoUIS XIII. 


‘\ 


The wars and the court intrigues held boundless possibilities for the 
epid scions of decayed _ -and impoverished families, and France was never 
in gallant soldiers than then. Alexandre Dumas, in the createst of his 
om aa The Three Musketeers,” draws the character of these cadets of 
— admirably i in his famous hero D'Artagnan. It is a soldier of the 
oo stripe that M. Meissonier paints in his “ ‘Captain of the Guard,” 


ca cavalier for whom life is full of eee and of gallant adventures, who 
¢ ae 


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The picture is mated 1870, and is painted in water colors. 


= 
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rT 

: 

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! | N\ » gf. 
HVN)OYTROYON (Constantine), . . >. 4 Deceased 
Se BU a 


a | ‘ 
4 %h b bs . Born at Sevres, 1810. His parents wished him to be a painter of porcelain, 
er ae S ies but after atime spent in the manufactory at Sevres, he studied under 
ees / D,, , . Rivereux, and became a painter of landscapes and animals. Medals, 
uy ) } j \ Paris, 1838, 1840, 1846, 1848, 1855. Chevalier of the Legion of Honor, 
: . on 1849. Member of the Amsterdam Academy. Died, 1865. Diploma to 


the Memory of Deceased Artists (Exposition Universelle), 1878. 


ee K PA 
as No. 57 


NORMANDY CATTLE. 


“ T’ve two great bullocks in my stall, 
Two great white bullocks mixed with roan, 
Ponderous the plough is that they haul, 
Massive the yoke their necks placed on.” 
PIERRE DUPONT. 


The foreground is occupied by a red bull with a white frontlet, a close 
study of cattle character of the breed this great master loved to paint, which 
is looking out of the picture as if its attention had been suddenly aroused. 
A dun cow of the true Norman breed stands behind it in a quiet attitude. 
There is another cow under a tree, and a herdsman’s shaggy dog—that famous 
dog that Troyon always clung to—completes the composition. 

The landscape is simple, and the sky threatens a storm. The coloring is 


low in tone, rich and powerful. 
74 


DETPAILLE (Jean Bartiste Epovarp), . big ooee 


Born at Parts, 1848. Favorite pupil of Meissonier. Exhibited at Salon, o / 
1868, his “ Halt of Infantry,” which received much praise, and in 1869 
the “ Rest During Drill at Camp St. Maur.” Medals, Paris, 1869, 
1870, 1872. Chevalier of the Legion of Honor, 1873; Officer of the 
Same, 1881 ; Grand Medal of Honor, 1888. 


RN es 


"LES INCROYABLES—FOREST OF ST. GERMAIN. 
9x X 74. 


The incroyable was one of the most curious products of the great French 
Revolution. He was the antithesis of the revolutionist, the sans-culotte who 
gave too much attention to death to spare time for dress. The maddest 
extravagance of dandyism was indulged in by the zxcroyable, who won his 
familiar nickname by the incredible exaggeration of his costumes and customs. 
He literally, as his title would imply, carried his worship of the wild vagaries 
of foolish fashion past all belief. His appearance was a sort of protest against 
the brutal abandonment of all the gentler practices of life that characterized 
the reaction against aristocratic and polite existence which came with the 
commencement of the revolution, and he lasted as a public character till the 
great Napoleonic wars left no place in France for anyone but soldiers. M. 
Détaille shows him in all his glory, a perfect epitome of colors, as gay asa 
butterfly, swaggering down the great promenade of the Palace Park of St. 
Germain, with his long stick in his hand. 


ne date is 1871. 
75 


Ah v4 


jo a 


4 


yal | ) 


MBETTEN KOFFEN (Prof. August von), . Vienna 


~ 
f } 


4 


Born in Vienna, 1821. 


I wet 


“Courtesy to an artist who is very much of a stranger demands that some space should 


Genre painter of great local reputation, Member of the 
1 Academtes Rabel Vienna and Munich. Knighted in 1876. 


be given to the distinguished Austrian, August Pettenkoffen. Pettenkoffen was born in 
Vienna in 1823, and at the Academy of Art in that city first served his apprenticeship to 
painting. The German-Austrian school was a school moving ponderously down to a hopeless 
decadence, in those days before the arising of Matejko, Munkacsy, Makart and Pettenkoffen 
himself. 
art-movements, heard the report of a little band of seekers and searchers—Troyon, Rousseau, 
Meissonier, in Paris, and Leys and Stevens and Willems, in Belgium—who were courageous 
enough to ask Nature for her secret face to face. This gospel of glad tidings was his earthly 
salvation. But, in the mean time arrived his turn at the national conscription, and the young 
man, drafted into the troops of Francis Joseph, fulfilled his duties like an honest soldier, and 
was promoted with remarkable rapidity to the grade of captain. The profession of arms, 
however, was unable to keep possession of a spirit that had tasted of artistic delights. The 
young man had viewed his military routine with the eye of a painter; it remained for him to 
drill his artistic faculties with the severity of a captain. | 
‘‘Resuming the practice of art, he determined to devote himself to his profession from the 
military point of view, feeling that no one else could recount so well the field-scenes which 
had passed before his eyes. The event has justified him, and delivered to the world a mass 
of incidents of the Austrian army and its wild Hungarian contingent such as would have 
been Jost to posterity without his aid. The young artist was now ready to carry out a project 
which had tempted him in his salad-days at the Vienna Academy, and repair to France for a 
more exquisite culture in the things which belonged to his peace. Only at Paris, in the 


epoch of 1850, could be found a group of seekers and teachers capable of satisfying an earnest 


seeker after verity. He finished a few portraits at Vienna—portraits of his relations and 


neighbors, as much to please the originals as to get his pencil-hand in practice again—and 
departed for the French capital, carrying with him two canvases traced over with the sketches 
of two pictures, ‘The Spy,’ and ‘ Marauders Dividing Booty,’ the last of which found when 
finished, a resting place in the collection of Sir Richard Wallace. 

‘“A minutely invented, careful and toilsome series of exquisite studies, representing 
scenes of army-life in the troops he had just quitted, or village groups from Bohemia and 
Hungary, have occupied his time incessantly. He has learned from the contemplation of 
the Wouvermans and Van de Veldes how much can be imparted in a small panel finished 
in the grand manner, and his ambition has restricted itself to the discerning treatment 
of reality.” | 


The Art Treasures of America. 
76 


Happily the young student, though imprisoned in an almost monastic retirement from — 


Bn! ; i re 
yi 
i a Ly fPias§ gee Licey é 
1.) MARKET SCENE. rear HUNGARY. 


No. 59 | a 


— 


| MARKET SCENE IN HUNGARY. 


(MARCHE HONGROIS.) © 


(Bees 
eae 3 
eee Fark the noise ! 
| d The laugh and shout of village boys. 
_ The sound of cymbals cleaves the air ; 
The gypsy-player tarries there.” 
ALEXANDER PETOFI. 


= = me 2 = J6 a ss a 
CNG AP et 20 a ce A REIN BT ORES Fe RRS Sit pete Bt sn 
as — be a ‘ % 
7 Zl >, 
on 
‘ 
vo 


ee An open-air market in a Hungarian village. In the foreground are groups . 

of men and women seated and standing around the base of a stone boundary-. 5 { 
o post. The middle distance is filled with market wagons and chaffering sellers 4 : 

an a buyers, horses, cattle and idling figures. Beyond the crowd one sees a a 

ie elt sweep and the roofs of. the village. The scene is very animated, and the 4 

1 mys colors in the women’s costumes lend it a certain gayety. The types of ay e 
+ a =e character are varied, picturesque, and full of interest, and the suggestion of — oy 
Pe barbaric movement and color is admirably conveyed, while the Magyar char- ; a 

| $ ; acteristics of the scene and the actors in it are thoroughly preserved and x . 
| i f depicted. “0 closely is the detail of the scene followed, that even the vege- i aaa « 
T - tables and other objects exposed for sale will be recognized by native Hun- 4 
| ; -garians as of local origin. 4 
eae Dated 1853. | i, f 
t 3 ig 


nae mag D 


ZAMACOIS (Evouagp), — . an . ' Deceased: 


fv 4 \ 


a X S v es Born in Bilboa in 1842. Died at Madrid, 1871. Genre painter. Pupil 
wf / : ag Gh of Balaco, then of Madrid Academy under Federico de Madrazo, and 
if) in Parts of Metssonter. Treated seventeenth-century subjects with great 
4 nf » success. Medals, Paris, 1867. Munich, 1870. Diploma to the Memory 
fi 8) X of Deceased Artists (Exposition Universelle), Paris, 1878. 
ww 


ore 


A COURT JESTER. 
(LE FOU DU ROL) 


63%) 52 


« The jester shook his hood and bells and leaped upon a chair ; 
The pages laughed ; the women screamed and tossed their scented hair ; 
The falcon whistled ; stag-hounds bayed ; the lap-dog barked without ; 
The scullion dropped the pitcher brown; the cook railed at the lout; 
The steward, counting out his gold, let pouch and money fall; 
And why? Because the jester rose to say grace in the hall.” 
WALTER THORNBURY. 


The court jester was the censor of a corrupt age. Zamacois was, 
after his fashion, the court jester of his art in our own time. His muse 
was always merry, but with a strong strain of scorn and satire in it. It 
was the art of a deep-thinking and sincere reformer that he practiced, and 
he has left us pictures that will be immortal for their shrewd and bitter : 
sarcasm and true, however sardonic, commentary upon human nature. The 
jester was a favorite subject with him. In this instance he represents him 
attired entirely in scarlet, seated on a couch covered with yellow brocade in 


a palatial interior. He is picking at a mandolin, and his face wears a sardonic 


expression. <A richly-colored rug is at his feet. Through a large window the 
trees of a park are seen. The coloring is vivid and daring in arrangement, 


and brilliant in result. — 


The date of the picture is 1868. 
78 


f 


a * VIBERT (JEAN GEORGES), | ; Pans 


of 
ee ee 


ca Born in Paris, 1840. Pupil of 1 Ecole des Beaux-Arts, and of Barrias, 
Paris. Medals, Paris, 1864, 1867, 1868, 1878 (Zxposition Universelle). 
Chevalier of the Legion of Honor, 1870. 


| ie 61 Cf Gtk 
THE FIRST-BORN. - 


(LE PREMIER NE.) 


i x10, 


The divinest instinct that is implanted in the human breast is that which 
hedges childhood about with the self-sacrificing safeguards of maternity and 
paternity. The noblest deeds of heroism and self-sacrifice recorded of the 

- human race are those of the father and the mother given to the child. The 
one attribute of serious humanity at which the most hardened cynic dares 
not scoff, is that of parental love. Even the most indurated and calloused 
mocker at the true sentiments of his race cannot forget that he was once 
a child, and that some one toiled and suffered for his sake, as others are and 
will be toiling and suffering for their little ones until the globe whirls into 
fathomless space and the heavens open as a scroll. And of all the love 
and tenderness that falls to childhood, the greatest and the warmest part 
belongs, beyond a doubt, to the first-born. 

It is in the commencement of a family that the romance of domes- 
ticity begins. The first baby is the emblem and the seal of love, whether it 
rest in the hovel or a palace. It is in the latter setting that M. Vibert pre- 
sents his “ First-Born”’ to us. Ina splendid French interior, of the period of 
Louis XV., a young mother and father are watching at the side of the tiny 
pledge of their affection. The babe lies on a couch covered with a sump- 
tuous green and flowered brocade. The father, in a gay suit of the Court 


cut, is seated on the right, intently contemplating the child. ‘The 
79 


old Gallic lullaby : 


‘«' Dodo Veniant dor— 
L’enfant dormira tantot; 
“e La Vierge bemitams 
noi eee enfant 


: Endormé—1 
a Jusqu’a quand il sera grand 
Il dira ; papa—mama.” | 


The picture is dated 1872. 
80 


UL GHSY 
a DAUBIGNY (CuarLzes Francois), . | Deceased ,/ 


Born at Paris, 1817. Pupil of his father and Paul Delaroche, and for ree ¢ é" 5] 
years studied in Italy. Medals, 1848, 1853, 1855, 1857, 1859, 1869. : i 1 
Chevalier of the Legion of Honor, 1859. Officer of the Same, 1874. 
Died, 1873. Diploma to the Memory of Deceased Artists (Exposition 


Universelle), 1878. | Ly e ah re 


" LANDSCAPE—ON THE RIVER MARNE. 


No. 62 


(PAYSAGE—RIVIERE MARNE.) 


14 xX 254. 


“ The art of this illustrious master consists in choosing well a bit of country and painting | 
it as it is, inclosing in its frame all the simple and name poetry which it contains. No effect 
of studied light, no artificial and complicated composition, nothing which allures the eyes, 
surprises the mind and crushes the littleness of man.” 

EDMOND ABOUT, “Salon de 1864.” 


The river bank rises from the calm stream in a gentle slope, well grassed 
and crested with sturdily verdured thickets. The line of shore carries 
itself away in a picturesque undulation, sufficiently relieved by clumps of 
foliage without having its simplicity of surface disturbed. A sky of tender 
grays and pearls accentuates the simple but rich color of the landscape. It 
is nature, embellished by no liberties with the rules of composition, yet com- 
posing itself into a picture whose modest force has a dignity no studied com- 
position could possess. 


The picture is dated 1863. 
8I 


1 


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Ls 


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; fi 4 
f a { ¥ . 
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on ome H 
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si... ne a a, pai 


F & 
$ “RICO (Martin), : : : ; Venice . 


d Born at Madrid. Pupil of Madrazo the elders then studied in Paris 
M and Rome. Medal, Paris (Exposition Universelle), 1878; Chevalier 


of the Legion of Honor, 1878; Chevalier of the Order of Charles 


JEBE Kober 
Wa No. 63 


MOORISH HOUSE AND COURT—GRANADA. 
(MAISON MAURESQUE—GRENADE.) 


£3 8 2 3. 


At the doorway where the harem once passed out to its promenade 
of the garden, some humble Dolores sits spinning. At the window, through 
which the Pasha may have watched his favorite feeding her goldfish’ in 
the fountain, in the days before the last Abencerrage fled beyond the 
plain, an humble artificer chatters at his work with a village gossip, her 
baby in her arms. In the cool gloom of the deteriorated palace, the bang- 
ing of a loom is echoing, like a lingering menace of the warlike clamor 


which awoke Granada from her dream of eternal peace, and swept her 


glory away like the phantasm of a dream. The walls are stained with 


mould; the dainty tracery of the artist’s chisel is crumbling and melting 
away under stress of wind and weather; grass is springing over the broken 
pavement, laid for the promenade of princes and worn by the feet of con- 
quering churls; and the fountain has wept its last tears for the degrada- 
tion of the fallen house, and gone sluggishly to sleep in its decaying basin. 
Such is all the Granada of to-day, the corpse of a dead ‘civilization that 
has become one of the romances of history, dessicated by the sun that 


gilded its splendor and that mocks its ruin. 
82 


MEISSONIER (JEAN CuHar_gs), hee Paris WAGE 


Born in Parts. Pupil of his father, J. L. E. Meissonier, like whom he J -- 
paints Eighteenth Century scenes in the style of the old Dutch Masté¥: ) 


Medal, 1866. 2 é f Me} 0] 


No. 64 


STORY OF THE CAMPAIGN. 7 hale 


_ (REMINISCENCES DE GUERRE.) Va 


. 174 X 14. 


“ Like an old soldier, telling of the wars, 
Buying his bed and supper with the tale, 
And coining comfort from his unhealed scars.” 
SIR WALTER SCOTT. 


A vagrant man-at-arms, tramping from one mercenary service to 
another, has applied for food and shelter at a chateau by the way. The 
~ master of the house accords him hospitality, and takes as compensation 
for it his guest’s gossip from the wars. The campaigner sits upon a 
settle by the kitchen fire, a dish in his lap, a knife in his hand, a wine-jar 
on the seat beside him, and his long sword within ready reach. He revels 
in the rude comforts of an ample meal, seasoned by the talk that pleases 
him best. His host, standing with his back to the fire, puffs a pipe while 
he listens and looks on. The chat of his guest awakens in him memories 
of his own stirring adventures by flood and field. He lives again with the 
speaker the campaign from which he has come. For one night, at least, 
the old vagabond free lance will enjoy the repose accorded to an honored 


guest. 


The period of the picture is the Seventeenth Century, and it is dated 


ote At | 
83 


-— mb~ 3 : 
| \ / ZAMACOIS (Epouarp}),  . Deceased 
: Born at Bilboa, Spain, 1843. Pupil of Meissonier. Made ‘his début at the 


| Salon of 1863. Medal, Paris, 1867. Died, 1871. Diploma to the 
Memory of Deceased Artists (Exposition Universelle), 1878. 


ole 


LEVYING CONTRIBUTIONS. 


No. 65 


(CONTRIBUTIONS INDIRECTES.) 


Lo XLS: 


Painted in 1866, and exhibited at the Salon in the Spring of 1867, “ Con- 


, 


tributions Indirectes”’ attracted to the artist the attention of all Paris. It 
was the first of the series of satires upon monkish life which the gifted young 
pupil of Meissonier took up. The wit of the painter flashed in it with the 
keenness of a steel blade, and within twenty-four hours it had become the topic 
of the hour. 

In the court-yard of a superb chateau of the middle of the Seventeenth 
Century, a mendicant friar, having halted on his regular round of levying con- 


| tributions upon the neighborhood, receives entertainment for himself at the 


! hands of several roguish hosts. He sits upon a bench, sipping at a cup of 


chocolate, while his entertainers exchange their badinage with him, and at his 


expense. An elderly cavalier with a swagger of authority about him, stands 


dressed. There is a smile of mockery on his face, and that he speaks scoff- 


i at his right, resting one hand upon his long cane. He is richly and gayly 
84 

| 

| 


LEVYING CONTRIBUTIONS. 


ingly, his attitude and expression alike clearly testify. Seated on the bench, 
a young lady, in a sumptuous toilette of blue satin and lace, stirs a posset in a 
glass, and jests with the friar. Behind him a young cavalier is about to pull 
the cowl from his head. The monk endures the entire proceeding with stolid 
philosophy. He is sufficiently satisfied with receiving his taxes, direct and 
_ indirect, to submit to furnishing some diversion to those he taxes. The end 
justifies the means, and humility is practiced for profit. The composition 
has all the qualities which made Zamacois famous. The picturesque and 
the grotesque combine in it, the individualizations of the characters are 
full of force and humor, and the witty idea is realized with cutting brill- 
iancy. The spirit of Moliére breathes in the brush of his artistic successor, 
who in our own century repeated with his brush the triumphs won by the 


creator of Zartuffe with his pen. 
4 % 85 


. 5 ¢ co 4' % 2) 
Oe 


eV ERNE (EMILE JEAN Horace), Deceased 


Wet , a 
ue 


ca 
of 
a ee 
2 


Born tn the Louvre, Parts, June 30, 1789. Died in Paris, January 17, 
) 1863. Son of Charles Vernet and grandson of Joseph Vernet. Pupil 
of his father and of Vincent, and commenced an independent career 
as a painter in 1809. First-Class Medal, 1812. Chevalier of the 
Legion of Honor, 1814. Officer of the Same, 1825; Commander of 
the Same, 1842. Member of the Institute, 1826. Director of the 
French Academy at Rome, 1828. French Representative at the Roman 
Court, 1830. Grand Medal of Honor, 1855. 


Re 


THE ORIGINAL STUDY OF J0Reae 


Lee ed & 


Vernet’s “Judith” was one of the pictures produced by him during his 
residence in Rome, as director of the French Academy in the Immortal City. 
He was appointed to this post in 1828, and held it until 1835. The date of 
his original study for the “ Judith” is 1830. It is evidently a portrait of some 
choice model in whom the painter found an inspiration for his scriptural 
heroine. The type is Italian, of that order in which is perpetuated some of 
the barbarically patrician pride and haughty beauty of an Italy that has long 
since vanished into history. She is a big, strong woman, this Roman model, 
with her luxuriant hair, black and glossy as a raven’s wing, her great eyes, the 
orbs of “‘ox-eyed Juno,” with their regularly pencilled brows, her set and 
cruel lip, and her flesh of ivory, full and firm with healthy blood and brawn. 
The artist departed very slightly from this original when he subsequently 


introduced her into his picture. 
86 


SCH REYER (AOE), a a Pa 


wanes 
Born in Frankfort, 1828. Pupil of ‘Stadel Institute, Frankfort ; studied the 
horse anatomically in the riding school ; later, in Stuttgart, Munich and 
Diisseldorf. Travelled extensively in the East and throughout Europe. 
Member of Antwerp and Rotterdam Academies. Medals, Brussels, 1863 ; 
Paris, 1864, 1865, 1867; Munich, 1876; Chevalier of the Order of 
Leopold, 1866 ; Court Painter to the Grand Duke of Mecklenburg, 1862. 


WINTER IN WALLACHIA. 


(HIVER EN VALACHIE.) 


i 3320. 


* No product here the barren hills afford 
But man and steel,—the soldier and his sword ; 
No vernal blooms these torpid rocks array, 
But winter, lingering, chills the lap of May.” 
OLIVER GOLDSMITH. 


The snows are on the Danubian Principalities, and what pass for highways 
across the vast expanses of swamp and grazing land are deep with mire. The 
team dragging the ponderous freight wagon through this dreary waste have 
all that they can do to keep the wheels from being held fast by the fingers of 
the greedy earth till the frost makes them effectually prisoners. The team- 
sters lash the straining brutes with furious blows, the strained joints crack, the 


harness creaks ominously, the wagon racks and complains as it struggles 
87 


\ ye 


WINTER IN WALLACHIA. 


against the tension put upon it, and to add to the excitement and confusion 
of the scene, the overcast sky is full of the promise of a coming snowstorm, to 
encounter which is to invite the menace of a death of frost, amid the waste 
places of the abandoned plain. It is one of those occasions when no moment 
is to be lost, and no exertion spared, for the fading of the last gleam of cheer- 
less and warmthless light from the desolate landscape may be the last moment 


of his life to reveal to the belated wanderer the light of day. 
88 


GEROME (Jean Léon), . Parif 


ante ’ 
Born at Vesoul, France, 1824. Went to Paris 1841, and entered studiov-y 6) ,) 


of Paul Delaroche, at the same time following the course at rtoodh | 7 


des Beaux-Arts. In 1844 he accompanied Delaroche to Italy. He 
made his début at the Salon in 1847 with “ Un Combat de Cogs.” In 
1853 and 1856 he traveled in Egypt and Turkey, studying closely the 
history and customs of those countries. Medals, Paris, 1847, 1848, 1855 
(Exposition Universelle); Member of the Institute, 1865; Medal of 
Hlonor (Exposition Universelle), 1867; Medal of Honor, 1874; Medal 
Yor Sculpture, and one of the eight Grand Medals of Honor (Expost- 
tion Universelle), 1878 ; Chevalier of the Legion of Honor, 1855; Officer 
1867 ; Commander of the Same, 1878; Chevalier of the Order of the 
Red Eagle, Member of the Royal Academy, London; Professor at 
l’Ecole des Beaux-Arts. ihe 


No. 68 root # 
| fr 


MOLIERE BREAKFASTING WITH LOUIS XIV. 
AT VERSAILLES, 


a, Yy. 
/\) Al (MOLIERE ET LOUIS XIV.) Wa 


‘Bi 164 xX 2094. 


Jean Baptiste Poquelin, with the self-selected professional name of Moli- 
ére, with which he baptized himself when he took to the stage, and under 


which he is immortal, was the son of an upholsterer of Paris, who was later 


in life a valet-de-chambre to the king. Moliére was born in Paris, on January 


15, 1622. There are absolutely no reliable data about his early life, save 
that at the age of fourteen he was sent to the College de Clermont, a 
Jesuit Seminary in his native city, and that after leaving college he attended 
the lectures of Gassendi. He undertook a translation of Lucretius, which 
is now utterly lost, excepting for a single passage in the fourth scene of 
Act Il. of his “ Misanthrope;” commenced to study law about 1641, and 
in 1645 turned actor, and went for a dozen years roving about the country 
with a band of strolling players. 

It was during this period of his career that he took to wi Peoe state 


His first play, “L’Etourdi,” was presented in Lyons in 1653. Finally, 
sar 89 


at a 


MOLIERE BREAKFASTING WITH LOUIS XIV. AT VERSAILLES. 


drifting back to Paris, he encountered the Prince de Conti, who had been 
a school-fellow with him at Clermont, and through the Prince’s power 
obtained permission to act before the king. Louis was so pleased by the 
performance, and the Prince de Conti supported his old college comrade 
so manfully, that Moliére was given permission to establish himself and 
his troupe in Paris. Now began to appear his superb series of comedies, 
which found their splendid crown in “ Tartuffe,” in 1669. Four years later, 
on February 17th, 1673, while acting in “Le Malade Imaginaire,” which he 
had but just written, Molitre was taken with a hemorrhage, and died at 
ten o'clock that night. His life had been a light and merry one in spirit. 
His fearless satire had offended the Church. By some it is even hinted 
that he had early in life become a priest and broken his vows. At any 
rate, he died in a state of excommunication; and the Church, which had 
refused him the final rites of religion when he implored them in his last 
gasp, refused him also Christian burial. The king’s absolute command 
alone secured for the greatest comic dramatist that ever lived burial in 
consecrated ground, and then only a private interment, performed by a 
party of a hundred friends with lighted torches and without a priest. His 
body now lies in cemetery of Pere Lachaise, where it was removed in 1817. 

That Louis XIV. received Moliére with much personal favor is 
undoubted. The story of the breakfast represented by M. Géréme, is told 
by Mme. Campan in her “ Mémoirs.” According to it, it came to the 
king’s ears that certain officers of his household had refused to dine with 
Moliére at the house of his majesty’s purveyor-in-chief. A day or two 
later, Moliére happening to be at Versailles, where the court was, with his 
troupe, called to make a morning service to the king. Through an ante- 
chamber crowded with the courtiers who had disdained him, Louis, who 
was just from the hands of his valet, had the comedian introduced into 
his presence. He was breakfasting lightly on the luncheon that had been 
prepared for him, as was the custom, should he have wished to eat at 
night, and commanding Moliére to sit opposite him, served him with a 
wing of his own fowl, and ordered the courtiers to be admitted, to whom 


he said: 
gO 


ne Moliére ee at Phe right, listening with a ee full of satire 


action at the humiliation of his arrogant enemies. Servants are 


in dishes - behind the comedian. The scene is laid in one of the 
Pe 
a state AU uN at et an interior ornate in the architec- 


a 


| ie i of the painting is 1862. 


ry ef Sy | } 
fi} “DE NEUVILLE (ALrHonse Marts), .. sDegeamed 
at ae Vs > ‘i : 
Y ne Born at Saint Omer, France, 1836. A member of a wealthy family, his parents 
f° . i } intended him for an offictal career, but he was only willing to join the army 
q 3 > | and entered the school at Lorient. Here his astonishing skill in drawing 
; was remarked. In order to make peace with his family, he went to Parts 


and entered the law-school, but he spent more time at the military school 
and in the Champs-de-Mars, sketching and becoming familiar with all the — 
details of a soldier’s life. He returned home, declaring he would be a 
painter or nothing. His friends endeavored to discourage his determina- — 
tion, and the artists upon whom he called in Paris advised him to go back 
home. Delacroix, however, became his friend, and with him De Neuville 
spent many hours. He studied also with Picot. De Neuville’s first pict- 
ures were not particularly remarkable, but the Franco-Prussian war gave 
him inspiration and subjects almost without limit, and since that time the 
artist has produced some of the greatest battle-pictures of any time. 
Medals, Paris, 1859, 1861. Chevalier of the Legion of Honor, 1873. 
Officer of the Same, 1881. Died, 1885. 


Set ae 3 


AULING BY THE CAPSTAN—YPORT, 
NORMANDIE. 


(HALAGE DU CABESTAN.) 


22° x) (38. 


The sky is sullen and the sea pelts the shingle with angry blows of its 
uneasy waves. In air and ocean the storm is brooding, nursing its wrath with 


blackening brows. The tempest is held within check only by its own wanton 
92 | | 


em aa 
V a 


"HAULING BY THE CAPSTAN—VPORT, ‘NORMANDIE. 


ian 


oon oa? 


( apricious will, and those who are on the waters do wisely in fleeing 
1 he peril that i is soon to come. One fishing boat has gained the 
nd, < ind her Revises has been carried up to the huge tapstan by which 
mir es dragged out of reach of the breakers. panes and youth, old 


toilsome poee to a safe pee ee The capstan creaks and 


cet ae ‘ohne of its prey. In contrast with the wild spirit of 


a the furious easy. of the rude toilers of the sea, face to face with 


Pe cial toil, and to find in its tragic earnestness the subject for a 


ted sermon for the eyes of luxury and ease. 
x ) 93 


iy EP ee nO Gm le 2 SRR ANN AO Tt, DE 


fee 
ai / 


ee oe ee eee 


,¢) ‘| \~ . | 
(fe | ,OPONHEUR (Francois Aucuste), . Deceased 
2, LL SF ed | : 


AN “Born in Bordeaux, 1824. Died, 1884. Brother of Rosa Bonheur and pupil 
\ 0 of their father, Raymond Bonheur, a meritorious artist, who died in 1853. 
‘, : Auguste achieved reputation as a landscape and animal painter. Medals, 

) 1852, 1857, 1859, 1861, 1863. Chevalier of the Legion of Honor, 1867. 


a ore 


NORMANDY CATTLE. 


No. 70 


(BESTIAUX. NORMAND.) 


234 X 32. 


It is a landscape of large lines and simple dignity, mellowing in the mid- 
summer midday. Under a sky aglow with light basks a champaign broken 
with clumps of verdure and gentle elevations, in which the rich color of the 
ripening year is refined by the harmony of a nature all in tune. Ina pool in 
the foreground, a red cow is drinking. Behind her, and also in the water, is a _ 
black cow, while on the right a dun and white cow is calling, with her head up. 
To the right in the second plane, a peasant woman is driving two cows to 
water along the bank. On the left, over the crown of a road which ascends 
a low hillock from the pool, is seen the figure of a mounted man. A few 
stunted but richly verdured trees break the not unpleasing monotony of the 


landscape. The picture is not dated. 
94 


Memes) (JEAN GEORGES), . . ... 

Born in Paris, 1840. Pupil of l’Ecole des Beaux-Arts, and of Barrias, — 
Paris. Medals, Paris, 1864, 1867, 1868, 1878 (Exposition Universelle 1 
Chevalier of the Legion of Honor, 1870. ae 


ae No. 71 
SCENE AT A SPANISH DILIGENCE STATION. 


(UNE COUR DE DILIGENCE EN ESPANGE.) 


27 X20. 


The diligence office is almost as complete an epitome of Spanish life and 
character to-day as it was at the opening of the century. The world’s progress 
has, it is true, invaded the Iberian peninsula astride of the iron horse, but | 
railway communication is by no means universal, and even where it does 
exist, as a line of connection between the more important points, the ancient 
stages are frequently kept up. The Spaniard has not outgrown the national 
predilection for travelling through life by easy stages. Neither has he lost his 
love of gossip, and of the interchange of badinage by the way—that merry 
weakness of the idle tongue that has found in “ Figaro” a type of all his race. 
Modern Spain is still the Spain of Beaumarchais. The characters of “ The ; 
Barber of Seville” still lounge in its sunny streets and go a-journeying as of | 
old, and from among them M. Vibert has found material for his picture. 

In a court-yard at Seville, the passengers are awaiting the departure of 
the stagecoach. In the foreground to the right, a black-robed priest with the 


long box containing some ecclesiastical vestment on his knees, is seated 
| 95 


SCENE AT A SPANISH DILIGENCE STATION. 


against the wall, reading in his breviary. His ascetic face wears a particularly 
severe expression, caused, no doubt, by an active flirtation between his neigh- 
bors. They occupy the middle of the picture, in a group of three, whose 
centre is a coquettish Spanish beauty gayly attired in yellow silk and white 
lace. She has on her left a Spanish bull-fighter, in a bright blue suit, witha 


scarlet serape cast over his shoulder, and on her right another admirer more. 


soberly clad. Their conversation is animated, and accompanied with spirited 
gestures and cigarette smoke. In the background other figures are gathered 


about a booth, and a muleteer lies among his trappings on the ground. The 


diligence, as yet unhorsed, shows in the rear of the court over the heads 


of its waiting passengers. 


The picture bears the date 1869. 
96 


session na EE IE 
< .* 1 Ea ¢ ¥ 


: 
.. 
; 


SC ON IER (Jean Louis Ernesst), 


a : 


E> at Lyons, 181 3. He went to Paris when guite young, and was, oP ? 
ee a time, a pupil of Léon Cogniet. First exhibited at the Salon in 1836. 19 
of His picture,“ A Brawl” (1855), was purchased by Napoleon III. an 
a, presented to the late Prince Albert, of England. Medals, Paris, 1840, 
1841, 1843, 1848. Grand Medal of Honor, 1855 (Exposition Uni- 
verselle). One of the eight Grand Medals of Honor (Lxposition 
Oniverselle), 1867; Grand Medal of Honor (Exposition U; niverselle), 
1878. Chevalier of the Legion of Honor, 1846; Officer of the Same, 
1856 ; ; Commander of the Same, 1867; Grand Officer of the Same, - 
_ 1878. Member of the Institute of France, 1861. nie <n he 
of the Royal Academy, London. 


THE GAME eae 


(PARTIE PERDUE.) 


Bessey . 134 X 10g. 


4 


| The gamester, in one guise or another, has always been a favorite 
subject with the greatest of modern French masters at the easel. 
His first public impression as a painter was made in 1836, with a pict- 
ure of chess players. Then he turned to the gamblers at dice with equal 
success. The card players next engaged his attention, and through them 


some of his greatest triumphs have been won. He has painted them at 


their game, in repose; after their game, in the action of a furious brawl ; 


and again dying from the results of a quarrel over a disputed stake. The 
97 


/ 
- 


a} i] 
. - ~ 


THE GAME LOST. 
, 


best of his card players are the old campaigners of the robust period of 
Louis XIII., whom he paints at play in the barrack-room, squandering in 
the idleness of peace the spoils of war. It is notable that in his treatments 
of these subjects he not only accurately depicts the dress and surroundings 
of the time, but gives in his types of character an amazing reflex of the 
human traits and characteristics of the day he deals with. There is none 
of the quality of the lay figure in his heroes, and none of the suggestion 
of a modern model tricked out in an antique masquerade. | 

In “The Game Lost” he presents to us four figures, in a corner of 
a barrack-room. Of these, two are players, and two spectators. The 
players sit face to face, astride of a bench, which serves them for a table 
as well. Both are old soldiers, who have grown gray in battle and adven- 
ture, and are in full uniform. They are evidently beguiling the time 
before they go on duty with a bout at the pasteboards. One, bare- 
headed and serious, sits straight up, conning his hand and selecting the 
card to play, while a younger comrade, seated beside him, looks over his 
cards and utters a hint as to the selection he may make. The other player, 
who wears his hat and the sash of an officer of the day, evidently secure 
in the possession of a strong hand, has his mind made up as to his course. 
He does not look at his cards, but watches his opponent, leaning slightly 
forward, with one hand on his hip, ready to draw his winning card when 
the other’s play is made. On a stool beside him lies a clay pipe, which 
he has laid aside in the excitement of the game. The fourth figure is 
that of another old soldier, in a steel cuirass and without his hat, who 
leans, standing, against the wall behind the officer, with a pipe in his 
hand, blowing a cloud as he surveys the game. The light enters from 
an unseen window, and the background gains variety from a plank parti- 
tion over which a mantle has been thrown. In all the details the facts 
of the scene are accurately observed. The two players, who are presently 
to go on duty, are booted and spurred. The two who are off duty are 
bareheaded, and wear their uniforms carelessly. One can almost tell the 


hour of day from the light that enters at the window. 


“The Game Lost” is dated 1863. 
98 


MMEISSONIER (Jean Louis Ernest), . Paris 


Born at Lyons, 1813. He went to Paris when quite young, and was, for 
_ . @ time,a pupil of Léon Cogniet. First exhibited at the Salon in 1836. 
fits picture, “A Brawl” (1855) was purchased by Napoleon III. and 
presented to the late Prince Albert, of England. Medals, Paris, 1840, 
1841, 1843, 1848. Grand Medal of Honor, 1855 (Exposition Unti- 


verselle). One of the eight Grand Medals of Honor (Exposition sii 
Universelle), 1867; Grand Medal of Honor (Exposition Universellé), 
1878. Chevalier of the Legion of Honor, 1846; Officer of the Same,) ‘ 


1856 ; Commander of the Same, 1867; Grand Officer of the Same, 1878. 
Member of the Institute of France, 1861. Honorary Member of the 
Royal Academy, London. | | : 


No. 73 seats 
THE STIRRUP CUP. 


(COUP DE L’ETRIER.) 


34 x 42. 1866. 
‘ 

It is a white, hot, midsummer day. On one of the dusty highways of 
the South of France the air is ablaze with heat as from a furnace. The 
traveller, pushing forward on his journey, has halted for his breakfast at an 
humble wayside inn, and having refreshed and rested himself, has remounted 
to resume the road, and is being served in the saddle with.a parting draught 
of wine by his host. The-traveller is in a pink silk coat of the style of 
the last century, and is mounted on a white horse. His back is towards 
the spectator, and the horse is seen foreshortened. The innkeeper stands at 
the horse’s head, facing forward, and holds a wine jug in his hand and a glass 
onatray. He isa sturdy figure, in his shirt, with the sleeves rolled up and 
blue woolen stockings encasing his stout legs, firmly planted on the ground. 
The figures are relieved against the wall of the inn, which is in bright sun- 
light. In spite of the miniature dimensions of the panel, every detail is 
rendered with the most exquisitely scrupulous exactitude—the buttons on 
the traveller’s coat, the harness of his horse, the glint of light on the glass. 
At the same time the picture has the brilliancy and vigor of the largest and 


most dashingly executed work. — 
99 


Nn) OAS. 
j 


7! ves 


ad 
fe 


»f) 
j ja 


\"L yUEAEMATADEMA ‘acme R: Av oie 


i 
f here’ 
| 

$ 


fax Wc Na arn ae Dronryp, West Friesland, Helland 1836. First. studied in the 
(f” ’ \p | Gymnasium of Leeuwarden, where he devoted much of his time to the 
\) \ study of Greco-Roman and Egyptian antiquities. Entered the Academy 
| | at Antwerp in 1852, and subsequently studied under Baron Leys. In 


1870 fixed his residence in London. Medals, Paris, 1864-1867 (L£xfo- 
sition Universelle) ; 1878 (Exposition Universelle).. Grand Gold Medal, 
Berlin, 1874. Chevalier of the Legion of Honor, 18733; Officer of 
the Same, 1878. Cross of the Order of Merit, Berlin, 1881. Knight 
of the Order of Leopold ; Cross of the Order of the Dutch Lion ; 
Knight of the Order of St. Michael of Bavaria; of the Gold Lion of 
| the Flouse of Nassau; Cross of the Order of the Royal Crown of — 
Prussia. Member of the Royal Academy of Amsterdam; of the oyal 
Academy of Munich; of the Royal Academy of Berlin; and of the 
Royal Academy of London. Member of the English Society of Painters 
zn Water Colors. Honorary Professor of the Royal Institute of Fine 
Arts, Naples, and Corrente Member of the ee ee the Fine 


QUEEN CLOTILDA, WIFE. OF CLOVIS, FIRST 
CHRISTIAN KING OF FRANCE, INST Re 
HER tener sage IN ARMS. 


. 74 


253 X 353. 


a 


7 


Clotilda, wife of the great Clovis, the first Christian king of France, 
was the daughter of the King of Burgundy. Her mother and father had 


been assassinated by her uncle, who had caused the latter to be stabbed 
100 


_ QUEEN CLOTILDA INSTRUCTING HER CHILDREN IN ARMS. 


and the former to be drowned with a heavy stone about her neck. Their 
daughter brooded upon revenge, until the death of the great king, her 
husband, left the care and education of her sons entirely in her hands, 
when she bade them think with bitter hate of the foul wrong that her 
uncle had done her and avenge the death of her father and mother. The 
education which she addressed herself to giving them was calculated to 
this end. , 

They are shown in the picture practicing with the axe at a target of 
planks in the open court-yard of the palace, which is built in the Roman 
style. The elder, a handsome child with flaxen locks, stands posed in the 
foreground a little to the left, balancing in his upraised hand the hatchet 
he is about to launch at its mark. His brother, a still younger child, 
stands farther retired, between him and the target, watching him and 
clutching with childish eagerness the axe which he is next to cast. The 
third child, little more than a baby, clings to the knee of his mother, who, 
seated on her throne in the centre of the composition, with the solemn 
symbol of Christianity drawn in large lines on the walls behind her, gazes 
with pride and infinite sadness in her haughty and determined face at her 
gallant boys, qualifying themselves for the work of a bloody retaliation. 
At the extreme left of the foreground an old warrior, the instructor of 
the warlike little princes, leans with one arm upon his ponderous shield _ 
and watches as grave satisfaction the exhibition of his pupil's prowess. 
The queen’s women are grouped behind her; on her left hand is a group 
1 Of ecclesiastics, and the other side of the composition is filled in with 
SEN guards and court dignitaries. 
| This remarkable painting is the work to which the artist owes his 
first success. It was painted previously to his settlement in London, was 
exhibited in Antwerp in 1861, purchased by the Antwerp Society for the 
Encouragement of the Fine Arts, from whose hands it passed into the 
collection of the King of the Belgians, and at the dispersion of His 
Majesty’s collection, was brought to the United States. 3 


IoI 


‘tiie 

oa, ® h}> 
+ " BOUGUEREAU (WiLLiam ADOLPHE), + | 7 Panis 
BD 4 Pau s : : 3 
i OY ‘el Born in La Rochelle, 1825. When quite young, after passing through the 
it. - v College at Pons, where he showed an aptitude for drawing, Bouguereau 
ga A 2. was placed in a business house in Bordeaux. While there he attended, 
\ *) \ two hours a day, the drawing-school of M. Alaux. Treated contempt- 
wously by his fellow-students on account of his unartstocratic business 


connections, Bouguereau nevertheless took the first prize at the end of 
the year, the award causing such excitement in the school that a riot 
was the consequence. Bouguereau resolved thenceforth to turn his atten- 
tion to art, and after he had earned sufficient money by painting portraits 
at Saintonge, where his uncle was a priest, he went to Paris and 
entered the studio of Picot, and later I’ Ecole des Beaux-Arts, where his 
progress was rapid. He gained the Prix de Rome in 1850, and then 
studied in Rome. Medals, Paris, 1855 (Exposition Universelle), 1857, 
1867 (Exposition Universelle). Chevalier of the Legion of Honor, 
1859. Member of the Institute of France, 1876. Officer of the 
Legion of Honor, 1876. Medal of Honor (Lxposition Universelle), 
1878. Knight of the Order of Leopold, 1881. Grand Medal of 
fTonor, Paris, 1885. Medal of Honor, Antwerp, 1885. | 


eS 


Ay’ Noses 


HESITATING BETWEEN LOVE AND RICHES: 


@ 


(ENTRE L’AMOUR ET LA RICHESSE.) 


42 X 35. 


‘‘T have no store 
Of gryphon-guarded gold ; 


: 
: 


Now as before, 
Bare is the shepherd’s fold. 


ae Al 


Rubies nor pearls 
(is es ee Have I to gem thy throat ; 
aed 


— Yet woodland girls 
Have loved the shepherd’s note.” 


vith the tempting ‘clink sf gold and the tinkle of glistening gems. 
| between | the troubadour who offers the treasure of his heart and 


ages 


the ae who Petes the treasures of his coffers, the maiden sits 


. estion of Pie: her choice will be. 


e genre of the ne for which your, and 29) contend with such 


~ On her left, the youthful gallant chants his passion in her ear, 
n touches upon his mandolin. On her right the aged suitor tempts 
ma jewel casket. The costumes are of the later fourteenth or 
fifteenth century, sumptuous in material and rich in color. The 
ler as face is pure in outline, its youth chastened by gravity. + Her 
sss of pink stuff, with white at the arms and throat, accentuates by its 
slicity the richness of its surroundings, and gives meaning to the 


Be tO figures are shown at three-quarter lenoth. « Thesdate “i 


103 


i 
i ah a 
a> Se o.oo ee 4, 


EROME (JEAN Léon), . i, Paris 


Born at Vesoul, France, 1824. Went to Paris in 1841, and entered the studio of 
Paul Delaroche, at the same time following the course at l Ecole des Beaux- 
YQ Arts. In 1844 he accompanied Delaroche to Italy. He made his début at 
the Salon of 1847. In 1853 and 1856 he travelled in Egypt and Turkey, ° 
studying closely the history and customs of those countries. Medals, Paris, 
1847, 1848, 1855 (Lxposttion Universelle). Member of the Institute, 
1865. Medal of Honor (Exposition Universelle), 1867. Medal of 
flonor, 1874. Medal for Sculpture and one of the eight Grand Medals 
of Honor (Exposttion Untverselle), 1878. Chevalier of the Legion of 
ffonor, 18553; Officer of the Same, 1867; Commander of the Same, 
1878; Chevalier of the Order of the Red Eagle. Member of the Royal 
Reed London. Professor in 1’ Ecole des Beaux-Arts. 


4! oe \ AF WA oi No. 76 


| ff EMINENCE GRISE. 


293 X 39. 


There were two kings in France when Louis XIII. was young, and neither 
wore the crown. These unanointed monarchs were Armand Jean du Plessis, 
Cardinal Duc de Richelieu, and his strong right arm and brother brain, 
Frangois Leclerc du Tremblay, otherwise Father Joseph of the Order of Capu- 
chins. While Richelieu ruled France and swayed the destinies of Europe in 
the midst of the most magnificent ecclesiastical and worldly state, his ascetic 
confidant and prime minister passed through the great pages of history stern 


and severe as a spectre, conquering his victories with sandalled feet on the 
104 


L’EMINENCE GRISE. 


———$$ $$ ___—_ 


steps of thrones, and with his rude friar’s vestment carrying amid the gayety 
of frivolous courts the menace of an iron power. 
| Frangois Leclerc du Tremblay was born of a good family in Paris in 1571. 
He received the amplest education of the time, and entered the army as a 
gentleman volunteer, serving in the campaigns as Baron de Maficé. His 
spirit was sober, and his temperament melancholy. Given to dreams of duty 
at variance with the light manners of the camp in a gallant age, he withdrew 
- from the army, and entered the Order of Capuchins in 1599. He had become 
distinguished as a mission priest of fiery enthusiasm and enormous energy 
when Richelieu rose to power at court in 1614. His labors in the organiza- 
tion of missions to India and America brought him in contact with the 
Secretary of War and Foreign Affairs. Richelieu, with an eagle eye for men 
of his own intellectual stamp, recognized in this severe devotee also a states- 
-man of broad views and comprehensive knowledge, and a diplomat of a 
shrewdness and ability second only to his own. To appreciate a man, with 
Richelieu, was to advance him. Father Joseph was set to the difficult task of 
healing the breach between Louis XIII. and his mother, in 1620. He suc- 
ceeded. The Queen was restored to her position at court and Richelieu’s 
influence laid on a solid foundation. In two years more the Secretary of War 
was made Cardinal, and in two more Minister of State. Father Joseph 
became his secretary and coadjutor. He was henceforth associated with 
Richelieu’s greatest triumphs of statesmanship. It was Friar Joseph who 
secured from Rome the dispensation for the marriage of Henrietta of France 
to James I. of England in 1624, who brought about the dismissal of Wallen- 
stein by Ferdinand II., who signed the peace of Ratisbonne in 1629, and 
who, as much as Richelieu himself, shaped the foreign policy which bred dis- 
cord over all Europe to make France the stronger. Father Joseph died in 
1638, after the Pope had granted him a Cardinal’s hat but before he had time 
to wear it. 

This is the homely and barefooted friar who in M. Géréme’s picture is 
descending the grand staircase of the Cardinal’s palace, reading his breviary 
while the courtiers go cringing up on the other side. They bend servilely 


while his eye is on them, and turn upon him glances of hatred, scorn and fear, 
105 : 


"where his arms glow and flash’ in crimson aa et The — of 


Ata a4" i" 
Cardinal is written in every line of his straight figure, from whose 
ment adulation and hatred alike recoil as from a suit of mail. Rese is me, 
Fe 


i Tal aninerce Grise’”’ was nate hice 7) ee 
(ity 36 ! Ree: peewee 


' 


Le y 


py & 
PORTUNY Y CARBO (Mariano), . Deceased /53 200s 
| { s-v0 
Born at Réus, in Catalonia, 1838. Died in Rome, 1874. Pupil of Palau, o —— ae 
Lorenzalez and of the Barcelona Academy, where he won the Prix dey Ae 4s (“ 0 s 
Rome tn 1856. At Rome, which thenceforth became his residence, ie 9 f 
studied Raphael and made sketches of Roman life. In 1859 he was sent 
to Morocco by the Government to paint the incidents of General Prim’s 
campaign. In 1866 he went to Paris, and then to Madrid, where he 
remained three years studying the works of Velasquez, Ribera and Goya, 
fits original style, correct drawing and fine color gained for him a great 
reputation, and the sale of the contents of his studio after his death feed, 


800,000 francs, I 1 Morten 
No. 77 4g 


AeePANISH LADY gaat 


(UNE DAME ESPAGNOLE.) 


53 X 39. 


“Carmen est maigre,—un trait de bistre 
Cerne son ceil de gitana, 
Ses cheveux sont d’un noir sinistre 
Sa peau, le diable la tanna.” 
THEOPHILE GAUTIER. 


A portrait of a beautiful Spanish woman of the higher rank and the pure 
Castilian type, painted in an erect position at three-quarter length and on 
the scale of life. The lady is looking forward with an expression of some 


gravity. She is dressed in a modern costume of rich black silk, with white 
107 


A SPANISH LADY. 


lace at the wrists and a white linen collne The dress is confined at the front 
with coral buttons, and the left hand, on whose forefinger is a ring, is slightly 
lifting the skirt with a movement replete with quiet grace. The right hand 
toys with the antique and oddly designed gold onan of alorgnon. The back- 


ground is an indefinite gray green, strong but luminous, against which the 


- 


black silk, shot with steely lights, is solidly relieved. 

The story of this picture is in its way a romance; one of those romances, 
indeed, of which one hears much more in the history of art than one 
encounters in its actuality. Perhaps it is best told in the words of the 
late Mr. Edward Strahan in his “The Art Treasuries of America,” from which - 


the following is taken: 


‘‘ The specimen of Fortuny is an important and a charming one. During his culminating, 
his wonderful years at Rome, the Spanish painter consented, as a caprice and experiment, to 
resume for one time the life-size scale of painting, a method he had not employed since his 
studies for the ‘‘ Battle of Tetuan.” The result is before us, a large portrait of the handsome 
wife of a Secretary of the Spanish Embassy at Rome. Fit for the proud portrait gallery of 
the Silvas, so elegantly recapitulated in “ Hernani,” this supreme chef d’@uvre is separated, 
perhaps forever, from the records of a family race to take its position as a work of pure art, 
and enjoy a lease of artistic life apart from the life of a haughty Castilian house. It will go 
down to posterity anonymous and famous, like some great Reynolds or Tintoretto. ‘ The 
Lady with the Pince-Nez” will be its all-sufficient designation, as we mention the Titian of 
the Glove, or the Rembrandt with a Toque; for the family name, which has been mentioned 
to me, it is eminently unsuitable to publish under the circumstances.” . 


It is of this same master-piece that Arstne Houssaye wrote in a letter: 


‘The same evening I saw, at the residence of your compatriot Mr. Stebbins, the only 
woman’s portrait ever painted by Fortuny. It is the wife of a Spanish Secretary of Embassy 
at Rome. She is beautiful, but the painting is far more beautiful than she. Fortuny was 
Velasquez come to earth again. To think that this great genius, who held the secret of 
light in his hand, has been cast back into eternal night because the Roman fever passed by 
his studio! When will another Velasquez be born ?” 


The date of this picture is 1862. 
108 


Deceased. 


. Pupit of Canova, Professor of the Academy of 

i | Among. the works of this sculptor are “Venus and Love ;” 
By: of Ganymede,” Jor Prince Esterhazy ; the Tomb of Cardinal 
e, for the city of Bologna ; statue of “ St. Francis de Sales,” for St. 


a : 7 Sy at Rome, and a colossal “ St. Michael,” for the late Mr. Gardner 
rae Brewer, of Boston. Died, 1870. Myf ers 


No. 78 


°. 
\ 


CUPID AND PSYCHE. 


aa GROUP.) 


fe pe ka grace of hisown. This beautiful group was eros soon after 
Sipteaa ee 
_— he had completed his monument to Pope Clement XIV., and holds its 


place to this day at the head of his lighter imaginative works, showing as it 


does. his delicate and masterly treatment of the marble and his poetry of 
— at their best. Canova, who died in 1822, left, among other dis-. 
- tinguished pupils, Professor Adam Scipione Tadolini, who became himself a 
xs sculptor of the highest merit. Professor Tadolini executed in the dimensions 


of the original a reproduction of his master’s ‘‘ Cupid and Psyche.” The 
; : 109 
rs 


CUPID AND "PSYCHE: 


ut, @ in 
& lt a 


amorous god is shown swooping down upon the lavelone maiden with | eas Si 
graceful sinuousness of motion to his winged figure, while she greets: him 
throwing herself backward into his arms with the motion of one just aroused | 
from sleep. The figures are in the dimensions of the life and perfect in their 
repetition of the original. The character of the female figure is refined and , 
tender, as befits the bride of the love god in whom the Greeks embodied the E : 
soul or spirit of mortality, while the Cupid has the refinement and vouthiaie 7 


beauty belonging to the son of Jupiter and Venus, who, 


‘‘ Uncontrolled through heaven extends his sway, 


And gods and goddesses by turns obey.” 
110 3 | : 


GEORGE PROSPER), Paris 
n the Island of Mauritius, Africa. Pupil of Dautan. Legion of 
er 1878. Hors Concours. Friend and companton of Fortuny. 


wn ee ee 


“4 Satyrs of the woodland sort, 
Their ears pricked up, their noses short, 
With asses’ hoofs, great goggle eyes, ’ 
And double chins of monstrous size.” . 
, : | 2 Y ALDEN. 


ee. the cemented demi-god as he does. His type remains as 


ey 


eee ¥ i ° ° ° . ° 
co co while it becomes more pees ae and his “Satyr” is made a 


B Eie himself, the merry Bacchante. 


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: 43 D’EPINAY (Count GEorRGE PROSPER), Paris 


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BACCHANTE. 


‘« Jolly Bacchus, god of pleasure, 
Charmed the world with drink and dances.” 


THOMAS PARNELL, 


It is one of the priestesses of this merry deity whom the English poet 
sings that the sculptor breathes life into in the plastic image which his hands 
built up. He presents us with a worthy incarnation of the supporters of the 


gay god’s shrine—a priestess whose vocation it is to promote her tutelary 


deity’s pleasures, and whose religion consists in sharing with him in the 


gayeties with which he charms the world. 
II2 ; 


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